tag:blogger.com,1999:blog-75891057609114533922019-05-23T01:00:07.833-07:00Art ContrarianA blog about about painting, design and other aspects of aesthetics along with a dash of non-art topics. The point-of-view is that modernism in art is an idea that has, after a century or more, been thoroughly tested and found wanting. Not to say that it should be abolished -- just put in its proper, diminished place.Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.comBlogger1214125tag:blogger.com,1999:blog-7589105760911453392.post-66894147870480418222019-05-23T01:00:00.000-07:002019-05-23T01:00:07.760-07:00Charles Edward Chambers, Highly Competent Illustrator<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-QIVFxCyQ20w/XC6I-9ot7DI/AAAAAAAAcAU/wYOnlP-On94W2i15q7KF4vhDmKi8BvV0ACLcBGAs/s1600/Chesterfield%2B1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="511" data-original-width="1024" height="250" src="https://1.bp.blogspot.com/-QIVFxCyQ20w/XC6I-9ot7DI/AAAAAAAAcAU/wYOnlP-On94W2i15q7KF4vhDmKi8BvV0ACLcBGAs/s1600/Chesterfield%2B1.jpg" width="500" /></a></div><br />Charles Edward Chambers (1883-1941) was a highly skilled and successful illustrator, though not as famous as some others active 1915-1940 who had more distinctive styles. His Wikipedia entry is <b><u><a href="https://en.wikipedia.org/wiki/Charles_Edward_Chambers">here</a></u></b> and Society of Illustrators 2010 Hall of Fame induction statement is <b><u><a href="https://www.societyillustrators.org/charles-edward-chambers">here</a></u></b>.<br /><br />The Chesterfield billboard illustration above shows Chambers doing some of his best work for an important client. More examples of his illustrations are below. Given the length of his career, I wish that more of the Internet image sources had dates for them. They didn't, so I do a lot of guesswork in the captions.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-tSBYRz5CaSU/XC6JfHW6w_I/AAAAAAAAcAc/aD2tWya0SgYFqWQECUD9FtF6yqqA6e34QCLcBGAs/s1600/bookselle%2Bscene.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="541" height="595" src="https://1.bp.blogspot.com/-tSBYRz5CaSU/XC6JfHW6w_I/AAAAAAAAcAc/aD2tWya0SgYFqWQECUD9FtF6yqqA6e34QCLcBGAs/s1600/bookselle%2Bscene.jpg" width="400" /></a></div>Story illustration from around 1915, to judge by the woman's clothing.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-ZHPhMZnDK78/XC6Jhc9Ee0I/AAAAAAAAcAg/qEQR8KSRxKgSgPZGW3u4M1G1DiUN18w0gCLcBGAs/s1600/B%2526W%2Billustration.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="454" data-original-width="641" height="355" src="https://4.bp.blogspot.com/-ZHPhMZnDK78/XC6Jhc9Ee0I/AAAAAAAAcAg/qEQR8KSRxKgSgPZGW3u4M1G1DiUN18w0gCLcBGAs/s1600/B%2526W%2Billustration.jpg" width="500" /></a></div>Original art shown here. My guess is it was painted near 1920.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-svUDrSYC_gw/XC6JtNDiTyI/AAAAAAAAcAk/F5B2aaIYi-UYwwAE_bBI4MmBVUUPwXuHACLcBGAs/s1600/Couple%2Bparting%2Bin%2Bsnow%2B-%2B1915.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1434" data-original-width="1001" height="575" src="https://4.bp.blogspot.com/-svUDrSYC_gw/XC6JtNDiTyI/AAAAAAAAcAk/F5B2aaIYi-UYwwAE_bBI4MmBVUUPwXuHACLcBGAs/s1600/Couple%2Bparting%2Bin%2Bsnow%2B-%2B1915.jpg" width="400" /></a></div>Color illustration from around 1915.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-3aSHTN_37k8/XC6J2ODDYNI/AAAAAAAAcAw/mYwx1g_7KVEPJt0xBUB85Xn83G41l1TEACLcBGAs/s1600/Fire%2BDancer%2B-%2Bc.1920.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1213" data-original-width="840" height="580" src="https://1.bp.blogspot.com/-3aSHTN_37k8/XC6J2ODDYNI/AAAAAAAAcAw/mYwx1g_7KVEPJt0xBUB85Xn83G41l1TEACLcBGAs/s1600/Fire%2BDancer%2B-%2Bc.1920.jpg" width="400" /></a></div>This is called "Fire Dancer" on the Internet and was given c. 1920 as its date.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-VljA1SGMgE8/XC6KOTrT3XI/AAAAAAAAcA8/EaZ3rybgfgQo9GPNDYbeY-RLvomz61v3wCLcBGAs/s1600/man%2Bwith%2Bguitar%2B-%2BKelly%2Bimage.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="445" data-original-width="450" height="445" src="https://3.bp.blogspot.com/-VljA1SGMgE8/XC6KOTrT3XI/AAAAAAAAcA8/EaZ3rybgfgQo9GPNDYbeY-RLvomz61v3wCLcBGAs/s1600/man%2Bwith%2Bguitar%2B-%2BKelly%2Bimage.JPG" width="450" /></a></div>Man Playing Guitar, from the Kelly Collection. The painterly style suggests influence from early 1920s Dean Cornwell illustrations.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-Lj1-KP-0tkM/XC6Kw-tW4kI/AAAAAAAAcBE/NHnnhr1QZG0lT5gF4McJcsYiZvJ3VfE7ACLcBGAs/s1600/New%2Bnecklace.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="450" height="595" src="https://3.bp.blogspot.com/-Lj1-KP-0tkM/XC6Kw-tW4kI/AAAAAAAAcBE/NHnnhr1QZG0lT5gF4McJcsYiZvJ3VfE7ACLcBGAs/s1600/New%2Bnecklace.jpg" width="400" /></a></div>Woman receiving a gift neckless. More smoothly painted, and her dress and hairstyle suggest early 1930s. &nbsp;It's suggestive of J.C. Leyendecker's style, but without the hashing.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/--Tj7JhCxGyc/XC6LEL7uzeI/AAAAAAAAcBM/brt-5oj4azE0S20gBot2glQAOgCU20Q6wCLcBGAs/s1600/The%2BGood%2BEarth%2Billustration.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1105" data-original-width="800" height="555" src="https://4.bp.blogspot.com/--Tj7JhCxGyc/XC6LEL7uzeI/AAAAAAAAcBM/brt-5oj4azE0S20gBot2glQAOgCU20Q6wCLcBGAs/s1600/The%2BGood%2BEarth%2Billustration.jpg" width="400" /></a></div>Illustration for Pearl Buck's "The Good Earth."<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-hN4yM-QD2Gg/XC6LIfDibCI/AAAAAAAAcBQ/g1D5uhWJ97QTqP4sW0i4Q5gcoI1bsvh-QCLcBGAs/s1600/Red%2BCross%2B%2528Pauline%2BTrue%2529%2B-%2B1932.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="464" data-original-width="650" height="355" src="https://4.bp.blogspot.com/-hN4yM-QD2Gg/XC6LIfDibCI/AAAAAAAAcBQ/g1D5uhWJ97QTqP4sW0i4Q5gcoI1bsvh-QCLcBGAs/s1600/Red%2BCross%2B%2528Pauline%2BTrue%2529%2B-%2B1932.png" width="500" /></a></div>1932 Red Cross poster.&nbsp; The model is PaulineTrue, who became Chambers' second wife.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-IO1zG8635bQ/XC6Lcavl60I/AAAAAAAAcBk/JmNrrteX9WUSh87wbNmv2_akJ5qO23N_ACLcBGAs/s1600/She%2BAnswers%2Bthe%2BQuestion.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="629" data-original-width="479" height="525" src="https://2.bp.blogspot.com/-IO1zG8635bQ/XC6Lcavl60I/AAAAAAAAcBk/JmNrrteX9WUSh87wbNmv2_akJ5qO23N_ACLcBGAs/s1600/She%2BAnswers%2Bthe%2BQuestion.png" width="400" /></a></div>This story illustration is titled "She Answers the Question." I'm a bit puzzled because the officer's uniform is Great War vintage while the woman's clothing and hairdo are hard for me to date -- somehow seem more modern than 1918. (Though such uniforms were used in post-war years for a while.) The illustration was probably made in the 1930s, based on other examples of Chambers' work</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-49014058989462859922019-05-20T01:00:00.000-07:002019-05-20T01:00:02.743-07:00Umberto Boccioni, FuturistUmberto Boccioni (1882-1916) was a leading painter and sculptor associated with the <b><u><a href="https://en.wikipedia.org/wiki/Futurism">Futurism</a></u></b>&nbsp;movement initiated by <b><u><a href="https://en.wikipedia.org/wiki/Filippo_Tommaso_Marinetti">Filippo Tommaso Marinetti</a></u></b> in 1909, around the time when other modernist literary and artistic movements were bubbling up.<br /><br />His Wikipedia <b><u><a href="https://en.wikipedia.org/wiki/Umberto_Boccioni">entry</a></u></b> is of sufficient length to provide a reasonable sense of his life and career. Some of the paintings shown below are discussed, along with two of his early, largely representational paintings.<br /><br />Boccioni was serving in the Italian army when he died as the result of an accident. As the Wikipedia entry notes, this was when he seemed to be drifting away from Futurism. From the images shown there, it seems he was beginning to experiment with styles being used in Paris. How he might have developed had he survived the Great War is unknowable, of course.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-tb5CDfjV3x0/XClC07fH8-I/AAAAAAAAb6g/1jXpFk9De6kg90FPVQ9BiEVaQaM1LydfwCLcBGAs/s1600/photo%2B-%2BUmberto%2BBoccioni%252C%2BFilippo%2BTommaso%2BMarinetti%2B%2B-%2B1912.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="665" data-original-width="505" height="495" src="https://4.bp.blogspot.com/-tb5CDfjV3x0/XClC07fH8-I/AAAAAAAAb6g/1jXpFk9De6kg90FPVQ9BiEVaQaM1LydfwCLcBGAs/s1600/photo%2B-%2BUmberto%2BBoccioni%252C%2BFilippo%2BTommaso%2BMarinetti%2B%2B-%2B1912.png" width="400" /></a></div>A 1912 photograph of Boccioni (at left) and Marinetti: two well-dressed aesthetic revolutionaries.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-WtTa1GRkj5o/XClC5tTZH1I/AAAAAAAAb6k/EQgcMmFv0W8GCcyxt9ItXqsF4ZegqjIHwCLcBGAs/s1600/La%2Brisata%2B%2528The%2BLaugh%2529%2B-%2B1911.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="504" data-original-width="600" height="420" src="https://1.bp.blogspot.com/-WtTa1GRkj5o/XClC5tTZH1I/AAAAAAAAb6k/EQgcMmFv0W8GCcyxt9ItXqsF4ZegqjIHwCLcBGAs/s1600/La%2Brisata%2B%2528The%2BLaugh%2529%2B-%2B1911.jpg" width="500" /></a></div><b><i>La risata</i> (The Laugh) - 1911</b><br />This painting is partly shown at the left of the photo above.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-_jeHFBoeP9I/XClDBi8nKUI/AAAAAAAAb6o/53TShVWQ7kEQdh-tsDjDRsxbcMkVSrx0wCLcBGAs/s1600/The%2BCity%2BRises%2B-%2B1910.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="600" height="335" src="https://1.bp.blogspot.com/-_jeHFBoeP9I/XClDBi8nKUI/AAAAAAAAb6o/53TShVWQ7kEQdh-tsDjDRsxbcMkVSrx0wCLcBGAs/s1600/The%2BCity%2BRises%2B-%2B1910.jpg" width="500" /></a></div><b>The City Rises - 1910</b><br />An early Futurist painting by Boccioni.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-zNnpInCpPdc/XClDaKRLccI/AAAAAAAAb64/iDJT7y3n2CsoR7y7gqBgB1popD5ECaSUgCLcBGAs/s1600/Visioni%2Bsimultanee%2B-%2B1912.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="508" data-original-width="500" height="460" src="https://2.bp.blogspot.com/-zNnpInCpPdc/XClDaKRLccI/AAAAAAAAb64/iDJT7y3n2CsoR7y7gqBgB1popD5ECaSUgCLcBGAs/s1600/Visioni%2Bsimultanee%2B-%2B1912.png" width="450" /></a></div><b><i>Visioni simultanee</i> - 1912</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-BiRQJFofS58/XClD14MwQfI/AAAAAAAAb7A/72d3hu6DdZg-R5LDflefXNfGTp5OMxVdgCLcBGAs/s1600/Horizontal%2BVolumes%2B-%2B1912.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="718" data-original-width="721" height="445" src="https://3.bp.blogspot.com/-BiRQJFofS58/XClD14MwQfI/AAAAAAAAb7A/72d3hu6DdZg-R5LDflefXNfGTp5OMxVdgCLcBGAs/s1600/Horizontal%2BVolumes%2B-%2B1912.jpg" width="450" /></a></div><b>Horizontal Volumes - 1912</b><br />The Wikipedia entry has this dated 1915 and cited as a sign that Boccioni was drifting from Futurism. However, most items relating to this work found via Google have its date as 1912. This seems to make sense because this is clearly a Cubist-style portrait similar to what Picasso and some others were painting around that time. Boccioni must have been experimenting here.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-0cf1aIu-BAA/XClD5ABY5fI/AAAAAAAAb7E/yf1RDNevEM0hZSiwxM7ultgTgrcUr6pTwCLcBGAs/s1600/Elasticita%25CC%2580%2B%2528Elasticity%2529%2B-%2B1912.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="792" data-original-width="800" height="445" src="https://2.bp.blogspot.com/-0cf1aIu-BAA/XClD5ABY5fI/AAAAAAAAb7E/yf1RDNevEM0hZSiwxM7ultgTgrcUr6pTwCLcBGAs/s1600/Elasticita%25CC%2580%2B%2528Elasticity%2529%2B-%2B1912.jpg" width="450" /></a></div><b><i>Elasticità</i> (Elasticity) - 1912</b><br />An important element of Futurist painting was attempting to depict motion.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-NaA_Kj05xh8/XClEBIOBooI/AAAAAAAAb7I/8uEhIPF1ikMtUQenJnKjc6EtFnKXqp1YQCLcBGAs/s1600/Testa%2B%252B%2Bluce%2B%252B%2Bambiente%2B-%2B1912.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="604" data-original-width="600" height="455" src="https://3.bp.blogspot.com/-NaA_Kj05xh8/XClEBIOBooI/AAAAAAAAb7I/8uEhIPF1ikMtUQenJnKjc6EtFnKXqp1YQCLcBGAs/s1600/Testa%2B%252B%2Bluce%2B%252B%2Bambiente%2B-%2B1912.jpg" width="450" /></a></div><b><i>Testa + luce + ambiente</i> - 1912</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-u8_247a9xHM/XClEMiyk0vI/AAAAAAAAb7Q/D4tBF_1j3eI_Zqo6LOX3ZcXUVmMOdwsdgCLcBGAs/s1600/Dinamismo%2Bdi%2Bun%2Bgiocatore%2Bdi%2Bcalcio%2B-%2B1913.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="538" data-original-width="560" height="480" src="https://1.bp.blogspot.com/-u8_247a9xHM/XClEMiyk0vI/AAAAAAAAb7Q/D4tBF_1j3eI_Zqo6LOX3ZcXUVmMOdwsdgCLcBGAs/s1600/Dinamismo%2Bdi%2Bun%2Bgiocatore%2Bdi%2Bcalcio%2B-%2B1913.jpg" width="500" /></a></div><b><i>Dinamismo di un giocatore di calcio</i> (Dynamism of a football kicker) - 1913</b><br />More motion.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-4Ma6aHnmaS4/XClEOrQzLrI/AAAAAAAAb7U/o_eNGkcDLi8IlxzztHW16rAo3dWdD-XHgCLcBGAs/s1600/Dinamismo%2Bdi%2Bun%2Bciclista%2B%2528Dynamism%2Bof%2Ba%2BCyclist%2529%2B-%2B%2B1913.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="367" data-original-width="503" height="365" src="https://1.bp.blogspot.com/-4Ma6aHnmaS4/XClEOrQzLrI/AAAAAAAAb7U/o_eNGkcDLi8IlxzztHW16rAo3dWdD-XHgCLcBGAs/s1600/Dinamismo%2Bdi%2Bun%2Bciclista%2B%2528Dynamism%2Bof%2Ba%2BCyclist%2529%2B-%2B%2B1913.png" width="500" /></a></div><b><i>Dinamismo di un ciclista</i> (Dynamism of a Cyclist) - 1913</b><br />Again, motion.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-wO4PxPgPw5M/XClEQ3cOLtI/AAAAAAAAb7Y/KVtUSPLr41kCn3E7oRc3uZ_Rdh4zZ3z3QCLcBGAs/s1600/Carica%2Bdi%2Blanceri%2B%2528Charge%2Bof%2Bthe%2BLancers%2529%2B-%2Bcollage%2B-%2B1915.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="487" data-original-width="750" height="325" src="https://2.bp.blogspot.com/-wO4PxPgPw5M/XClEQ3cOLtI/AAAAAAAAb7Y/KVtUSPLr41kCn3E7oRc3uZ_Rdh4zZ3z3QCLcBGAs/s1600/Carica%2Bdi%2Blanceri%2B%2528Charge%2Bof%2Bthe%2BLancers%2529%2B-%2Bcollage%2B-%2B1915.jpg" width="500" /></a></div><b><i>Carica di lanceri</i> (Charge of the Lancers) - collage - 1915</b><br />Futurism was in favor of warfare.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-54133288604083306202019-05-16T01:00:00.000-07:002019-05-16T01:00:02.337-07:00John Singer Sargent Group PortraitsJohn Singer Sargent (1856-1925) was perhaps the leading portrait artist of the late 19th and early 20th centuries (Wikipedia entry <b><u><a href="https://en.wikipedia.org/wiki/John_Singer_Sargent">here</a></u></b>). I've written about him several times on this blog, so use the Search tool at the right if you are interested in locating and reading those posts.<br /><br />As expected, most of the portraits he painted were of one subject only. Occasionally he would include two subjects and there were times he dealt with three or more. This post deals with examples of the latter case.<br /><br />The focus is on composition: how his subjects were posed.<br /><br />At this late date it's probably impossible to be sure whether those arrangements were by Sargent or if they were influenced by whoever commissioned the paintings. However, odds are it was Sargent's doing, so I'll treat the compositions as his. The images are in chronological order aside from the final one, which was painted first. Click on them to enlarge.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-jwomVMV9tEE/XIai8ylgRtI/AAAAAAAAcsQ/-gXS4zfMSS8ebJ2Z9ScOeD4xIzLnxytcACLcBGAs/s1600/The%2BMisses%2BVickers%2B-%2B1884.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="738" data-original-width="1000" height="370" src="https://4.bp.blogspot.com/-jwomVMV9tEE/XIai8ylgRtI/AAAAAAAAcsQ/-gXS4zfMSS8ebJ2Z9ScOeD4xIzLnxytcACLcBGAs/s1600/The%2BMisses%2BVickers%2B-%2B1884.jpg" width="500" /></a></div><b>The Misses Vickers - 1884</b><br />Here we find a sort of V-shape or checkmark shape composition. The young ladies are dressed in different colors and are looking in different directions. The one at the right appears to be looking at the viewer -- if she weren't, then she would tend to drop off the canvas due to her semi-isolated position.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-omOrh2FoRJ8/XIajG7ZZdyI/AAAAAAAAcsU/hgS4t_kxkcYY-AcTu-1iNSPXGNMNKkwdQCLcBGAs/s1600/Mrs%2BCarl%2BMeyer%2Band%2BHer%2BChildren%2B-%2B1896.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="1041" height="595" src="https://4.bp.blogspot.com/-omOrh2FoRJ8/XIajG7ZZdyI/AAAAAAAAcsU/hgS4t_kxkcYY-AcTu-1iNSPXGNMNKkwdQCLcBGAs/s1600/Mrs%2BCarl%2BMeyer%2Band%2BHer%2BChildren%2B-%2B1896.jpg" width="400" /></a></div><b>Mrs Carl Meyer and Her Children - 1896</b><br />A zig-zag composition starting with the children' faces, proceeding to Mrs. Meyer's face, and then zagging down across her dress towards the lower left. Clearly Mrs Meyers is the prime subject and her kids are incidental because there is little of them to be seen.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-wCE5eIKyk_A/XIajZpeodrI/AAAAAAAAcsg/haVXPyE40bA6Q7UoeWDv6VgWK0PlfBJ8ACLcBGAs/s1600/The%2BWyndham%2BSisters%2B-%2B1899%2B-%2BMet%2B-%2Blarge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1093" data-original-width="811" height="540" src="https://2.bp.blogspot.com/-wCE5eIKyk_A/XIajZpeodrI/AAAAAAAAcsg/haVXPyE40bA6Q7UoeWDv6VgWK0PlfBJ8ACLcBGAs/s1600/The%2BWyndham%2BSisters%2B-%2B1899%2B-%2BMet%2B-%2Blarge.jpg" width="400" /></a></div><b>The Wyndham Sisters - 1899</b><br />This is interesting because the canvas is split diagonally with the upper, dark background and the lower, bright dresses of the subjects. Again, the subjects are looking in different directions. Anchoring the scene is the pretty one in the middle who is gazing back at us.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-kJg0sWr0wOs/XIajj2OmUmI/AAAAAAAAcsk/XwPhhllltucEwIWs0aahC8IITvKRRCHoQCLcBGAs/s1600/The%2BSitwell%2BFamily%2B-%2B1900.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="981" data-original-width="1117" height="440" src="https://4.bp.blogspot.com/-kJg0sWr0wOs/XIajj2OmUmI/AAAAAAAAcsk/XwPhhllltucEwIWs0aahC8IITvKRRCHoQCLcBGAs/s1600/The%2BSitwell%2BFamily%2B-%2B1900.jpg" width="500" /></a></div><b>The Sitwell Family - 1900</b><br />This painting is almost completely different. Rather than having the subjects lumped into compositional areas, here they are mostly separate. The main sense is diagonal, though much weaker than in the previous image. Here it runs from towards the upper left to the lower right where the young children are. The red dress of the daughter anchors the upper left because the dark clothes of the father blend with the dark background there. Contrasting the diagonal are the two strong vertical elements of the standing people.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-IKFC34bnTFE/XIajr3XphWI/AAAAAAAAcso/32TD857QTxEavn2_8NcWS8TW47WRyQ_ZwCLcBGAs/s1600/The%2BAcheson%2BSisters%2B-%2B1902.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="778" height="515" src="https://4.bp.blogspot.com/-IKFC34bnTFE/XIajr3XphWI/AAAAAAAAcso/32TD857QTxEavn2_8NcWS8TW47WRyQ_ZwCLcBGAs/s1600/The%2BAcheson%2BSisters%2B-%2B1902.jpg" width="400" /></a></div><b>The Acheson Sisters - 1902</b><br />This painting gives me the feeling of advertising illustrations from circa-1900. Here the subjects are dressed in the same color and fabric. The faces of the subjects are the apexes of a shallow triangle. Although all the young women face the viewer, their eyes are looking at different places -- a subtle touch that avoids a static feeling that the similar head positions might have created,<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-kh5EWAhtPQs/XIajuYSwdTI/AAAAAAAAcss/YcJCsX_Eu-wBECbZQZHYo6tWx5QLPgrRACLcBGAs/s1600/Essie%252C%2BRuby%2Band%2BFerdinand%252C%2BChildren%2Bof%2BAsher%2BWertheimer%2B-%2B1902.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1271" data-original-width="1536" height="410" src="https://2.bp.blogspot.com/-kh5EWAhtPQs/XIajuYSwdTI/AAAAAAAAcss/YcJCsX_Eu-wBECbZQZHYo6tWx5QLPgrRACLcBGAs/s1600/Essie%252C%2BRuby%2Band%2BFerdinand%252C%2BChildren%2Bof%2BAsher%2BWertheimer%2B-%2B1902.jpg" width="500" /></a></div><b>Essie, Ruby and Ferdinand, Children of Asher Wertheimer - 1902</b><br />Yet another composition of diagonals and triangles. Sargent added the three dark dogs probably at the request of the Wertheimers.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-JMwP2vaWWL0/XIaj0WdHoKI/AAAAAAAAcsw/k1kMxFouNPoZABZoZimkgfriyRafUMWpACLcBGAs/s1600/The%2BDaughters%2Bof%2BEdward%2BDarley%2BBoit%2B-%2B1882%2Blarger.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1595" height="500" src="https://2.bp.blogspot.com/-JMwP2vaWWL0/XIaj0WdHoKI/AAAAAAAAcsw/k1kMxFouNPoZABZoZimkgfriyRafUMWpACLcBGAs/s1600/The%2BDaughters%2Bof%2BEdward%2BDarley%2BBoit%2B-%2B1882%2Blarger.jpg" width="500" /></a></div><b>The Daughters of Edward Darley Boit - 1882</b><br />Sargent painted this at age 26, a seemingly young age for creating such an intriguing, unconventional scene. The four girls (plus the doll) are arranged in a kind of trapezoid that overlays some diagonals. The center is largely a dark void, a bold, unconventional choice by the painter. Little seems obvious where the attitudes of the subjects are concerned. In fact, this enigmatic painting has been analyzed repeatedly over the years, and I have nothing new to contribute. A Wikipedia entry dealing with it is <b><u><a href="https://en.wikipedia.org/wiki/The_Daughters_of_Edward_Darley_Boit">here</a></u></b>. A review of the book “Sargent’s Daughters” by Erica E. Hirshler that deals with the painting and its subjects is reviewed <b><u><a href="https://www.nytimes.com/2009/12/13/books/review/Marshall-t.html">here</a></u></b>. It happened that in later life none of the girls had conventional adulthoods -- something that Sargent perhaps intuited, knowing the family fairly well.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com2tag:blogger.com,1999:blog-7589105760911453392.post-15714776920209172642019-05-13T01:00:00.000-07:002019-05-13T01:00:03.324-07:00Fred Ludekens, Big-Time West Coast IllustratorFred Ludekens (1900-1982) had a career that varied from the 1930-1960 American illustration norm for leading artists.<br /><br />For one thing, most of his professional life was spent in San Francisco, far from the New York City media center (though he was there 1939-1945). Moreover, part of that career was as an art director for major advertising agencies. Less unusually, he seems to have been largely self-taught.<br /><br />There isn't much information regarding him on the Internet, but two sources worth visiting are <b><u><a href="https://www.illustrationhistory.org/artists/fred-ludekens">here</a></u></b> and <b><u><a href="http://todaysinspiration.blogspot.com/2009/06/fred-ludekens-close-up.html">here</a></u></b>.<br /><br />Setting all that aside, Ludekens was skilled at his trade. He did some cover and other work for the Saturday Evening Post, America's leading general-interest magazine at the time. And one of his advertising art clients was General Motors' Chevrolet Division, whose cars were the best-sellers. So from a commercial standpoint, Ludekens was in the front rank.<br /><br />He also illustrated for True, the leading men's adventure magazine in the 1940s and 1950s.<br /><br />Below are examples of Ludekens' work.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-FwbXm0Nn-uk/XCUkwcEkenI/AAAAAAAAb4Q/TAtPhM1JeH8dXX_wVRuZPLBheS-6GJY0QCLcBGAs/s1600/Fortune%2Bcover%2B-%2BJune.1931.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1269" height="505" src="https://4.bp.blogspot.com/-FwbXm0Nn-uk/XCUkwcEkenI/AAAAAAAAb4Q/TAtPhM1JeH8dXX_wVRuZPLBheS-6GJY0QCLcBGAs/s1600/Fortune%2Bcover%2B-%2BJune.1931.jpg" width="400" /></a></div>Created about the time he became art director for the San Francisco branch of the Lord &amp; Taylor agency.&nbsp; Fortune was a leading business-oriented magazine, so Ludekens was already on the cusp of major-league illustration.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-HPcltDfCOFk/XCUlEZrSrmI/AAAAAAAAb4Y/-24s_jH0Iu4YkHeaKmzPIJOdRAb1M1GuwCLcBGAs/s1600/Marine%2Bwith%2Bflamethower%2B-%2BNash-Kelvinator%2Bad%2B-%2B1944.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="491" data-original-width="600" height="410" src="https://1.bp.blogspot.com/-HPcltDfCOFk/XCUlEZrSrmI/AAAAAAAAb4Y/-24s_jH0Iu4YkHeaKmzPIJOdRAb1M1GuwCLcBGAs/s1600/Marine%2Bwith%2Bflamethower%2B-%2BNash-Kelvinator%2Bad%2B-%2B1944.jpg" width="500" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-rHZk8SWqo54/XCUlGo7VJhI/AAAAAAAAb4c/NVeBbEk_O4ESXemPrvXauOGfUARNq24UgCLcBGAs/s1600/Soldiers%2Bin%2BHolland%2Btaking%2Bbreak%2B-%2BNash-Kelvinator.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="513" data-original-width="600" height="425" src="https://3.bp.blogspot.com/-rHZk8SWqo54/XCUlGo7VJhI/AAAAAAAAb4c/NVeBbEk_O4ESXemPrvXauOGfUARNq24UgCLcBGAs/s1600/Soldiers%2Bin%2BHolland%2Btaking%2Bbreak%2B-%2BNash-Kelvinator.jpg" width="500" /></a></div>Two illustrations for Nash-Kelvinator advertisements towards the end of World War 2. The first shows a Marine with a flame-thrower used for attacking Japanese bunkers. The second shows soldiers in Holland taking a break. The Netherlands was largely in the British part of the push towards Germany in 1944, and most American activity there was in the hilly central and eastern part of the country. Ludekens' illustration depicts a flat background with windmills, and a little Web research reveals that the 104th Infantry Division campaigned in the Scheldt River Estuary briefly in the fall of '44. I do not know if Ludekens knew of this comparatively minor detail or simply painted a generic Dutch background for showing American troops in a war zone.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-7tNpw0Z9O3g/XCUlJJurjZI/AAAAAAAAb4g/PvVvE97jEn4N9GM243Gt-pHQ4Z1RIUzwQCLcBGAs/s1600/SEP%2Bcover%2B-%2B03.Je.1944.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="737" data-original-width="570" height="520" src="https://2.bp.blogspot.com/-7tNpw0Z9O3g/XCUlJJurjZI/AAAAAAAAb4g/PvVvE97jEn4N9GM243Gt-pHQ4Z1RIUzwQCLcBGAs/s1600/SEP%2Bcover%2B-%2B03.Je.1944.jpg" width="400" /></a></div>Saturday Evening Post cover.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-cGz3HbOnJRw/XCUlMj8VDYI/AAAAAAAAb4k/5V3QnhiFgsEbH614FFCl4eMzPERj8Tn6ACLcBGAs/s1600/Chevrolet%2Bad%2B-%2B1948.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="666" data-original-width="510" height="520" src="https://3.bp.blogspot.com/-cGz3HbOnJRw/XCUlMj8VDYI/AAAAAAAAb4k/5V3QnhiFgsEbH614FFCl4eMzPERj8Tn6ACLcBGAs/s1600/Chevrolet%2Bad%2B-%2B1948.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-cx-_JoLK0Us/XCUlOAlnNvI/AAAAAAAAb4o/1sIM3kfHJdIWcbZp756UEexvPvEUix9owCLcBGAs/s1600/Chevrolet%2Bad%2B-%2B1953.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="705" data-original-width="570" height="495" src="https://4.bp.blogspot.com/-cx-_JoLK0Us/XCUlOAlnNvI/AAAAAAAAb4o/1sIM3kfHJdIWcbZp756UEexvPvEUix9owCLcBGAs/s1600/Chevrolet%2Bad%2B-%2B1953.jpg" width="400" /></a></div>Two Chevrolet advertisements, the first for the 1948 model year, the second for 1953 Chevrolets. The latter's setting is San Francisco's California Street heading up Knob Hill, so Ludekens didn't have to travel far to research this. The '48 Chevy is not quite depicted accurately (they looked a bit higher and stubbier in reality) while the 1953 model is considerably distorted. But that was normal for automobile publicity illustration in those days.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-waLYLUMg5BY/XCUlRhHkNEI/AAAAAAAAb4s/xaCRQiEoIg424r8-tYrS9cz0frnuj1mvACLcBGAs/s1600/True%2Bmag%2Bcover-%2BSe.1955.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="479" height="535" src="https://1.bp.blogspot.com/-waLYLUMg5BY/XCUlRhHkNEI/AAAAAAAAb4s/xaCRQiEoIg424r8-tYrS9cz0frnuj1mvACLcBGAs/s1600/True%2Bmag%2Bcover-%2BSe.1955.jpg" width="400" /></a></div>Cover for True.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-NAfHl1kA4qc/XCUlVxrT-nI/AAAAAAAAb4w/ogUTtYAon0AQvSv4hv4SOKhR4BmGJMpRgCLcBGAs/s1600/Jesse%2BJames%2Barticle%2Billustration.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="1600" height="330" src="https://4.bp.blogspot.com/-NAfHl1kA4qc/XCUlVxrT-nI/AAAAAAAAb4w/ogUTtYAon0AQvSv4hv4SOKhR4BmGJMpRgCLcBGAs/s1600/Jesse%2BJames%2Barticle%2Billustration.jpg" width="500" /></a></div>Story illustration for True.&nbsp; Ludekens illustrated many Western scenes.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-pZu6Lm1DAxs/XCUlXpbH02I/AAAAAAAAb44/pK3udZ80TTEXHrrCGML48KrO2kmYeMlogCLcBGAs/s1600/Southern%2BPacific%2Bposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="417" height="575" src="https://4.bp.blogspot.com/-pZu6Lm1DAxs/XCUlXpbH02I/AAAAAAAAb44/pK3udZ80TTEXHrrCGML48KrO2kmYeMlogCLcBGAs/s1600/Southern%2BPacific%2Bposter.jpg" width="400" /></a></div>Southern Pacific Railroad poster, probably from the early 1950s.&nbsp; Since it's advertising, the train has more coaches that it likely actually had. Also, I'm not sure if the Oregon background is actual --&nbsp; so let's consider the publicity photo below:<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-ertci9sBP88/XCZoVLr0-aI/AAAAAAAAb5M/z-OrwV-tj8QgxvhmYINkKiIUYwJLKh3UwCLcBGAs/s1600/photo%2B-%2BShasta%2BDaylight.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="378" data-original-width="600" height="315" src="https://2.bp.blogspot.com/-ertci9sBP88/XCZoVLr0-aI/AAAAAAAAb5M/z-OrwV-tj8QgxvhmYINkKiIUYwJLKh3UwCLcBGAs/s1600/photo%2B-%2BShasta%2BDaylight.jpg" width="500" /></a></div>Ludekens probably used this photo as reference for the illustration and dramatized the scene to please his client -- or perhaps SP's agency's art director ordered the enhancements.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-Q74wS_LRM2Y/XCUlaCOUOII/AAAAAAAAb48/aaA2gQCrqhoB1Ba7FLntonV3JSOu85P-ACLcBGAs/s1600/Weyerhaeuser%2Bad%2Bart.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="444" data-original-width="570" height="390" src="https://2.bp.blogspot.com/-Q74wS_LRM2Y/XCUlaCOUOII/AAAAAAAAb48/aaA2gQCrqhoB1Ba7FLntonV3JSOu85P-ACLcBGAs/s1600/Weyerhaeuser%2Bad%2Bart.jpg" width="500" /></a></div>Another important Ludekens client was the large, Tacoma-based timber company Weyerhaeuser (pronounced Ware-howser in American dialect). He painted a series of illustrations for a long-running ad campaign. The scene might be generic Washington State or could be from a reference photo ... hard to say which. The mountain in the background resembles pre-eruption Mt. St. Helens.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com1tag:blogger.com,1999:blog-7589105760911453392.post-49308921548447119982019-05-09T01:00:00.000-07:002019-05-09T01:00:09.592-07:00Carlo Carrà: Futurist for a Short WhileCarlo Carrà (1881-1966) was one of the first <b><u><a href="https://en.wikipedia.org/wiki/Futurism">Futurist</a></u></b> painters, Futurism being a 1910s Italian movement that, in painting, stressed depicting movement. Biographical information on Carrà is <b><u><a href="https://en.wikipedia.org/wiki/Carlo_Carr%C3%A0">here</a></u></b>.<br /><br />From what I could tell from images of his paintings on the Internet, Carrà never painted strictly realist paintings. Some of his earliest works on the Web, painted when he was around age 30, seem Cubist-influenced. Then from about 1911-1915 he made Futurist paintings. Then he became associated with <b><u><a href="https://en.wikipedia.org/wiki/Giorgio_de_Chirico">Giorgio de Chirico</a></u></b> and his Metaphysical Painting concept. After that, Carrà tended to do cityscapes and landscapes using a simplified, rather rough style.<br /><br />Examples of his work are below. I find none of them interesting or appealing.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-9lLIwhf853I/XC5VwQ7a7vI/AAAAAAAAb-8/rgfzpCwlg4YLOKlQSId0Ghoj_zsJm53nwCLcBGAs/s1600/%2528Nuotatori%2529%2BSwimmers%2B-%2B1910.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="555" data-original-width="777" height="355" src="https://3.bp.blogspot.com/-9lLIwhf853I/XC5VwQ7a7vI/AAAAAAAAb-8/rgfzpCwlg4YLOKlQSId0Ghoj_zsJm53nwCLcBGAs/s1600/%2528Nuotatori%2529%2BSwimmers%2B-%2B1910.jpg" width="500" /></a></div><b><i>Nuotatori</i> (Swimmers) - 1910</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-qbuS2SHqBOc/XC5V1rZAjiI/AAAAAAAAb_A/MBD7XiwxurkjBpWzHbZYYjS1BK7MLEYbwCLcBGAs/s1600/Marinetti%2B-%2B1910-11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1119" data-original-width="923" height="485" src="https://2.bp.blogspot.com/-qbuS2SHqBOc/XC5V1rZAjiI/AAAAAAAAb_A/MBD7XiwxurkjBpWzHbZYYjS1BK7MLEYbwCLcBGAs/s1600/Marinetti%2B-%2B1910-11.jpg" width="400" /></a></div><b><i>Marinetti</i> - 1910-11</b><br /><b><u><a href="https://en.wikipedia.org/wiki/Filippo_Tommaso_Marinetti">Filippo Tomasso Marinetti</a></u></b> was the founder of Futurism.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-6JKhu8cWnck/XC5V4bfWp-I/AAAAAAAAb_E/i_WSYPhORmk4oLawx8EKrbp-74xxHDhbgCLcBGAs/s1600/Ritmi%2Bdi%2Boggetti%2B%2528Rythms%2Bof%2BObjects%2529%2B-%2B1911.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="808" data-original-width="1024" height="395" src="https://3.bp.blogspot.com/-6JKhu8cWnck/XC5V4bfWp-I/AAAAAAAAb_E/i_WSYPhORmk4oLawx8EKrbp-74xxHDhbgCLcBGAs/s1600/Ritmi%2Bdi%2Boggetti%2B%2528Rythms%2Bof%2BObjects%2529%2B-%2B1911.jpg" width="500" /></a></div><b><i>Ritmi di oggetti</i> (Rhythms of Objects) - 1911</b><br />This is Futurist because pace and movement are suggested by the title, yet the overall impression is Cubist.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-k4DYq3Tk1X4/XC5V-dHpv2I/AAAAAAAAb_I/D9GLd7EblyUJIjCZoQQcoChVrhWHSH7hgCLcBGAs/s1600/Funerale%2Bdell%2527anarchico%2BGalli%2B-%2B1911.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="617" data-original-width="800" height="385" src="https://2.bp.blogspot.com/-k4DYq3Tk1X4/XC5V-dHpv2I/AAAAAAAAb_I/D9GLd7EblyUJIjCZoQQcoChVrhWHSH7hgCLcBGAs/s1600/Funerale%2Bdell%2527anarchico%2BGalli%2B-%2B1911.jpg" width="500" /></a></div><b><i>Funerale dell'anarchico Galli</i> Funeral of the Anarchist Galli - 1911</b><br />This painting and the following one are Futurist.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-xiKxO04YCBQ/XC5WCy5UtDI/AAAAAAAAb_M/EELm_XndvRkhgSvfHSp7DgL6Kzj2gONRwCLcBGAs/s1600/Il%2BCavaliere%2BRosso%252C%2B%2528Cavallo%2Be%2Bcavaliere%2529%2B-tempera%2B-%2B1913.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="437" data-original-width="600" height="365" src="https://4.bp.blogspot.com/-xiKxO04YCBQ/XC5WCy5UtDI/AAAAAAAAb_M/EELm_XndvRkhgSvfHSp7DgL6Kzj2gONRwCLcBGAs/s1600/Il%2BCavaliere%2BRosso%252C%2B%2528Cavallo%2Be%2Bcavaliere%2529%2B-tempera%2B-%2B1913.png" width="500" /></a></div><b><i>Il Cavaliere Rosso, (Cavallo e cavaliere)</i> (The Red Rider) - tempera - 1913</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-03wpa5jmZU0/XC5WJDtdF6I/AAAAAAAAb_Y/5SWqeVgX_HYfY6hwJ01H5ePco0UVCsbvgCLcBGAs/s1600/Manifestazione%2BInterventista%2B%2528Interventionist%2BDemonstration%2529%2B-%2B1914.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="524" data-original-width="400" height="525" src="https://4.bp.blogspot.com/-03wpa5jmZU0/XC5WJDtdF6I/AAAAAAAAb_Y/5SWqeVgX_HYfY6hwJ01H5ePco0UVCsbvgCLcBGAs/s1600/Manifestazione%2BInterventista%2B%2528Interventionist%2BDemonstration%2529%2B-%2B1914.png" width="400" /></a></div><b><i>Manifestazione Interventista</i> (Interventionist Demonstration) - collage - 1914</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-pwwTM0CqU2g/XC5WUMr7XRI/AAAAAAAAb_g/KrlojMSzWOYyVPxN2NVqc5KnaNo6r63BgCLcBGAs/s1600/%2BIl%2Bcavaliere%2Bdello%2Bspirito%2Boccidentale%2B%2528Western%2BHorseman%2529%2B-%2B1917.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="695" data-original-width="885" height="390" src="https://4.bp.blogspot.com/-pwwTM0CqU2g/XC5WUMr7XRI/AAAAAAAAb_g/KrlojMSzWOYyVPxN2NVqc5KnaNo6r63BgCLcBGAs/s1600/%2BIl%2Bcavaliere%2Bdello%2Bspirito%2Boccidentale%2B%2528Western%2BHorseman%2529%2B-%2B1917.jpg" width="500" /></a></div><b><i>Il cavaliere dello spirito occidentale</i> (Western Horseman) - 1917</b><br />At this point Carrà is influenced by de Chirico.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-NUOMmlM6Jbw/XC5WWsxneyI/AAAAAAAAb_k/Nxm4dvxr20c-f4Uyh50LKROsAyGVKJTsACLcBGAs/s1600/La%2BMusa%2Bmetafisica%2B%2528The%2BMetaphysical%2BMuse%2529%2B-%2B1917.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1024" height="550" src="https://4.bp.blogspot.com/-NUOMmlM6Jbw/XC5WWsxneyI/AAAAAAAAb_k/Nxm4dvxr20c-f4Uyh50LKROsAyGVKJTsACLcBGAs/s1600/La%2BMusa%2Bmetafisica%2B%2528The%2BMetaphysical%2BMuse%2529%2B-%2B1917.jpg" width="400" /></a></div><b><i>La Musa metafisica</i> (The Metaphysical Muse) - 1917</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-hZnNGnbAjg0/XC5a88RvAnI/AAAAAAAAcAI/3Vs32sUXgi4L9ynQvzPOjpUXtP9tY4gTQCLcBGAs/s1600/Le%2Bfiglie%2Bdi%2BLoth%2B-%2B1919.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="530" data-original-width="379" height="560" src="https://4.bp.blogspot.com/-hZnNGnbAjg0/XC5a88RvAnI/AAAAAAAAcAI/3Vs32sUXgi4L9ynQvzPOjpUXtP9tY4gTQCLcBGAs/s1600/Le%2Bfiglie%2Bdi%2BLoth%2B-%2B1919.jpg" width="400" /></a></div><b><i>Le figlie di Loth</i> (The Daughters of Lot) - 1919</b><br />Modernists were drifting into a neo- pseudo-classical style at the end of the Great War, and Carrà was keeping up with fashions.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-cBGFWNgHSS0/XC5WbQZ7p9I/AAAAAAAAb_o/5IHvkMxCfL4wAssi6vYolF-do8wyPGQvACLcBGAs/s1600/Il%2Bfaro%2B%2528The%2BLighthouse%2529%2B-%2B1928.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="394" data-original-width="500" height="395" src="https://3.bp.blogspot.com/-cBGFWNgHSS0/XC5WbQZ7p9I/AAAAAAAAb_o/5IHvkMxCfL4wAssi6vYolF-do8wyPGQvACLcBGAs/s1600/Il%2Bfaro%2B%2528The%2BLighthouse%2529%2B-%2B1928.jpg" width="500" /></a></div><b><i>Il faro</i> (The Lighthouse) - 1928</b><br />But he still hadn't completely parted from de Chirico's influence.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-SLdGc944LbI/XC5Wd5tqQ-I/AAAAAAAAb_s/tmCxv3M-Tksinj5CmpUuk-58wZjOqXGPACLcBGAs/s1600/Il%2BForte%2Bdei%2BCavalieri%2Bdi%2BMalta%2B-%2B1939.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="419" data-original-width="600" height="350" src="https://1.bp.blogspot.com/-SLdGc944LbI/XC5Wd5tqQ-I/AAAAAAAAb_s/tmCxv3M-Tksinj5CmpUuk-58wZjOqXGPACLcBGAs/s1600/Il%2BForte%2Bdei%2BCavalieri%2Bdi%2BMalta%2B-%2B1939.jpg" width="500" /></a></div><b><i>Il Forte dei Cavalieri di Malta</i> (Fortress of the Knights of Malta) - 1939</b><br />By the time this was painted, Carrà seems to have largely departed from doctrinaire Modernism, though was not quite fully free of modernist simplification.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-pBBTT3QOAt4/XC5WfjLZPxI/AAAAAAAAb_w/zL3ClVhkjVchBg-lAHkTWxI3cyvGNZHMgCLcBGAs/s1600/Venezia%2B-%2B1957.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="600" height="375" src="https://3.bp.blogspot.com/-pBBTT3QOAt4/XC5WfjLZPxI/AAAAAAAAb_w/zL3ClVhkjVchBg-lAHkTWxI3cyvGNZHMgCLcBGAs/s1600/Venezia%2B-%2B1957.jpg" width="500" /></a></div><b><i>Venezia</i> (Venice) - 1957</b><br />A late painting. Crudely done: primitivism combined with lonely de Chirico emptiness.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-63258078463867012682019-05-06T01:00:00.000-07:002019-05-06T01:00:04.157-07:00The Carefully Observant Rowland B. WilsonRowland B Wilson (1930-2005) was an animator, an ad agency art director and a cartoonist. He is probably best known to the general public (of a certain age) for the cartooning, and that's what I'll feature in this post.<br /><br />A brief Wikipedia entry is <b><u><a href="https://en.wikipedia.org/wiki/Rowland_B._Wilson">here</a></u></b>. For more details you might want to read his Los Angeles Times <b><u><a href="https://www.latimes.com/archives/la-xpm-2005-jul-11-me-wilson11-story.html">obituary</a></u></b>.<br /><br />Although Wilson drew black and white cartoons for The New Yorker, his preference was for full-page cartoons printed in color -- a comparative rarity in the cartooning world. In Wilson's case, it was Playboy Magazine that provided that venue along with advertisements for New England Life, an insurance company.<br /><br />Viewing a number of his cartoons on the Internet, the things that strike me about Wilson are: (1) his skill at creating believable personalities for his subjects, (2) the large amount of research he must have done to attire those subjects, and (3) the additional research expended to accurately detail the environments in which they were placed.<br /><br />That is, the jokes were funny, but their context was far more believable than found in run-of-the-mill cartoons. Let's take a look.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-TUef3AiAkwE/XMiKF_6OyLI/AAAAAAAAc5o/-_jZOH_pumYA4pRQ-9GqDLjSGG_HAVS0ACLcBGAs/s1600/Dogfight%2B%2528Playboy%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1076" data-original-width="776" height="555" src="https://3.bp.blogspot.com/-TUef3AiAkwE/XMiKF_6OyLI/AAAAAAAAc5o/-_jZOH_pumYA4pRQ-9GqDLjSGG_HAVS0ACLcBGAs/s1600/Dogfight%2B%2528Playboy%2529.jpg" width="400" /></a></div><b>Playboy</b><br />The German planes are Albatros V's and the French fighter is a Nieuport 24 bis. I'm not sure about the escadrille symbol on the side because I couldn't find it in my heap of reference material. Escadrille SPA 48, an outfit that flew SPADs towards the end of the war, used a rooster, but the design was different. The inscription in the upper left corner is to fellow cartoonist/animator Bill Peckmann.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-Aw0nsY-jEoE/XMiWI0PgFRI/AAAAAAAAc5w/gZVzZL00eowLQszFyt7a8SC2L8GuJreywCLcBGAs/s1600/France%2B%2528Playboy%253F%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1076" data-original-width="776" height="555" src="https://3.bp.blogspot.com/-Aw0nsY-jEoE/XMiWI0PgFRI/AAAAAAAAc5w/gZVzZL00eowLQszFyt7a8SC2L8GuJreywCLcBGAs/s1600/France%2B%2528Playboy%253F%2529.jpg" width="400" /></a></div><b>Playboy</b><br />The chandelier/window group in the background suggests the Eiffel Tower -- was that intentional on Wilson's part, or is it my fevered imagination?<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-5IRixZ4H1dI/XMiWMUtctsI/AAAAAAAAc50/ihxlkpgU6MUsk9kKBmXLvuOEFmsRWRyHwCLcBGAs/s1600/Playboy%2B2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="464" height="545" src="https://4.bp.blogspot.com/-5IRixZ4H1dI/XMiWMUtctsI/AAAAAAAAc50/ihxlkpgU6MUsk9kKBmXLvuOEFmsRWRyHwCLcBGAs/s1600/Playboy%2B2.jpg" width="400" /></a></div><b>Playboy</b><br />Da Vinci invents the Pizza. Note the earlier signature style.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-y8qjiqdamxw/XMiWU9ahytI/AAAAAAAAc54/wgt4ZTkQptEGfVv7YhZKSZ-d9Tvuxt7NgCLcBGAs/s1600/Playboy%2B4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="422" height="600" src="https://1.bp.blogspot.com/-y8qjiqdamxw/XMiWU9ahytI/AAAAAAAAc54/wgt4ZTkQptEGfVv7YhZKSZ-d9Tvuxt7NgCLcBGAs/s1600/Playboy%2B4.jpg" width="400" /></a></div><b>Playboy</b><br />Note the Black Forest type setting and all that architecture.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-4DaXPTPBD7E/XMiWZXp2r9I/AAAAAAAAc6A/hPG62_k3IAEIbUJmZ4MasDHcXomZoQLDQCLcBGAs/s1600/Pirates%2B%2528Playboy%253F%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1120" data-original-width="800" height="560" src="https://2.bp.blogspot.com/-4DaXPTPBD7E/XMiWZXp2r9I/AAAAAAAAc6A/hPG62_k3IAEIbUJmZ4MasDHcXomZoQLDQCLcBGAs/s1600/Pirates%2B%2528Playboy%253F%2529.jpg" width="400" /></a></div><b>Playboy</b><br />This shows off Wilson's skill in characterization, costumes and posing.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-7et0eYb3pgY/XMiWeqaGZGI/AAAAAAAAc6I/vLFwOBQUjRwC5uFAwilLuTTmxPIE9X9ugCLcBGAs/s1600/New%2BYorker%2B2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="894" data-original-width="671" height="535" src="https://3.bp.blogspot.com/-7et0eYb3pgY/XMiWeqaGZGI/AAAAAAAAc6I/vLFwOBQUjRwC5uFAwilLuTTmxPIE9X9ugCLcBGAs/s1600/New%2BYorker%2B2.jpg" width="400" /></a></div><b>New Yorker</b><br />He must have researched Middle Ages crane designs for this cartoon.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-96bK3WwDEiw/XMiWzGntTPI/AAAAAAAAc6Y/7id2pGDhUTAE1jYI4p51kb58u9KtaHKHwCLcBGAs/s1600/New%2BYorker%2B1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="676" height="535" src="https://3.bp.blogspot.com/-96bK3WwDEiw/XMiWzGntTPI/AAAAAAAAc6Y/7id2pGDhUTAE1jYI4p51kb58u9KtaHKHwCLcBGAs/s1600/New%2BYorker%2B1.jpg" width="400" /></a></div><b>New Yorker</b><br />Note the East 60s New York City neighborhood evoked by the background.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-4Tu06CSAEE0/XMiW04rwSuI/AAAAAAAAc6c/VDkyfOkzdZw4lCjx4BYJnvdQWbbbHEzbwCLcBGAs/s1600/TV%2BGuide%2Bcover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="734" data-original-width="496" height="595" src="https://3.bp.blogspot.com/-4Tu06CSAEE0/XMiW04rwSuI/AAAAAAAAc6c/VDkyfOkzdZw4lCjx4BYJnvdQWbbbHEzbwCLcBGAs/s1600/TV%2BGuide%2Bcover.jpg" width="400" /></a></div><b>TV Guide</b><br />This was a popular magazine around the 1970s.</center><center><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-UVC7pmkETv0/XMiW4FFQ29I/AAAAAAAAc6g/M2jC6oM-mjkGX13D0JFM01k-nfPWMFymQCLcBGAs/s1600/New%2BEngland%2BLife%2B1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="440" height="545" src="https://4.bp.blogspot.com/-UVC7pmkETv0/XMiW4FFQ29I/AAAAAAAAc6g/M2jC6oM-mjkGX13D0JFM01k-nfPWMFymQCLcBGAs/s1600/New%2BEngland%2BLife%2B1.jpg" width="400" /></a></div><b>New England Life</b><br />All the New England Life ads in this campaign had the same caption. Also the setting of impending doom.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-HyseDUXQ_bA/XMiW5tr5DQI/AAAAAAAAc6k/TAILdIxVQBYD0mIK9UtaY1Keu_fd05HnwCLcBGAs/s1600/New%2BEngland%2BLife%2B2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="440" height="545" src="https://1.bp.blogspot.com/-HyseDUXQ_bA/XMiW5tr5DQI/AAAAAAAAc6k/TAILdIxVQBYD0mIK9UtaY1Keu_fd05HnwCLcBGAs/s1600/New%2BEngland%2BLife%2B2.jpg" width="400" /></a></div><b>New England Life</b><br />Another example.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com1tag:blogger.com,1999:blog-7589105760911453392.post-1522644886245212532019-05-02T01:00:00.000-07:002019-05-02T01:00:05.461-07:00"Eric" et sa femmeCarl Erickson (1891-1958) was Vogue magazine's ace fashion illustrator in Paris from about 1925 to 1940 and continued his career at the American edition until his death. His wife, Lee Creelman Erickson also illustrated for the French Vogue and during the early-to-mid 1920s was more prominent than her husband.<br /><br />Unfortunately, I haven't been able to find biographical information on Lee. But Eric (as he was called and soon used as his signature) is better documented. For starters, you might link <b><u><a href="https://illustratorslounge.com/fashion/fashion-fridays-carl-erickson-1891-1958">here</a></u></b> and <b><u><a href="https://www.societyillustrators.org/eric-carl-erickson">here</a></u></b>.<br /><br />Lee's style was comparatively solid and literal, whereas Eric soon blossomed into his characteristic sketchy style. Underlying that sketchy style was a solid grasp of the forms he was interpreting. For that reason, I respect him even though the sketchiness usually was too extreme for my taste.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-sSgdU4_7hcM/XILGF_lK3OI/AAAAAAAAcrI/gt3aM8Dl8-cqXr7EyF0OeClWMHp0UpliwCLcBGAs/s1600/Illustration%2B-%2B1925%2Ba.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="689" data-original-width="550" height="500" src="https://1.bp.blogspot.com/-sSgdU4_7hcM/XILGF_lK3OI/AAAAAAAAcrI/gt3aM8Dl8-cqXr7EyF0OeClWMHp0UpliwCLcBGAs/s320/Illustration%2B-%2B1925%2Ba.png" width="400" /></a></div>First some images of Lee's work. This illustration is from 1925.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-k6aY5UKwNsg/XILGL3k5vsI/AAAAAAAAcrM/f5PV8GBHZxUbtu0RQHjg1IFNUJELfXyvQCLcBGAs/s1600/Illustration%2B-%2B1926%2Ba.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="399" height="480" src="https://3.bp.blogspot.com/-k6aY5UKwNsg/XILGL3k5vsI/AAAAAAAAcrM/f5PV8GBHZxUbtu0RQHjg1IFNUJELfXyvQCLcBGAs/s1600/Illustration%2B-%2B1926%2Ba.jpg" width="400" /></a></div>A 1926 illustration. Here and in the image above she signs her full married name.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-psNWr_OYjL8/XILGRhDQPOI/AAAAAAAAcrQ/gLPsnZegkPI8Kg2qHsXXR9xmoKyXOZ5KgCLcBGAs/s1600/Illustration%2B-%2Bc.1934%2Bb.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="574" data-original-width="501" height="460" src="https://3.bp.blogspot.com/-psNWr_OYjL8/XILGRhDQPOI/AAAAAAAAcrQ/gLPsnZegkPI8Kg2qHsXXR9xmoKyXOZ5KgCLcBGAs/s1600/Illustration%2B-%2Bc.1934%2Bb.png" width="400" /></a></div>Finally, an illustration from about 1933. At this point she signs using her married initials in a form similar to that of Eric (see below).<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-5ruGQGpsc7E/XILGVtpaRaI/AAAAAAAAcrU/MqFG0eejikca6Q4u4Tegd76EIKoMyK8wACLcBGAs/s1600/photo%2Bof%2BEric.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="435" data-original-width="500" height="435" src="https://3.bp.blogspot.com/-5ruGQGpsc7E/XILGVtpaRaI/AAAAAAAAcrU/MqFG0eejikca6Q4u4Tegd76EIKoMyK8wACLcBGAs/s1600/photo%2Bof%2BEric.jpg" width="500" /></a></div>Photo of Eric at work. The bowler hat was habitual attire.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-Nhcj5icDWIg/XILGx9pUj2I/AAAAAAAAcrk/TzgTtksVPHgIy_YC8_ShuUNIVPhaJN57ACLcBGAs/s1600/Illustration%2B-%2Bc.1925.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="391" height="500" src="https://3.bp.blogspot.com/-Nhcj5icDWIg/XILGx9pUj2I/AAAAAAAAcrk/TzgTtksVPHgIy_YC8_ShuUNIVPhaJN57ACLcBGAs/s1600/Illustration%2B-%2Bc.1925.jpg" width="390" /></a></div>Illustration from around 1925. Here he signs his full name.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-5CGs1Jvl1lI/XILG4wsBw3I/AAAAAAAAcro/efpb9qYTWb0h2EDelRWIwLT__q6abljEgCLcBGAs/s1600/Illustration%2B-%2B1929.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="600" height="600" src="https://4.bp.blogspot.com/-5CGs1Jvl1lI/XILG4wsBw3I/AAAAAAAAcro/efpb9qYTWb0h2EDelRWIwLT__q6abljEgCLcBGAs/s1600/Illustration%2B-%2B1929.jpg" width="400" /></a></div>By 1929 he was using "Eric." &nbsp;The style here is similar to that of his wife, but freer sketching is on the way.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-dZ5wSLlEF6E/XILG7mm5zeI/AAAAAAAAcrs/yghkdrq3eCUHoe-y_q_NmGtr_uZP60kawCLcBGAs/s1600/showing%2Bcar%2B-%2Bc.1931.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="839" data-original-width="800" height="470" src="https://3.bp.blogspot.com/-dZ5wSLlEF6E/XILG7mm5zeI/AAAAAAAAcrs/yghkdrq3eCUHoe-y_q_NmGtr_uZP60kawCLcBGAs/s1600/showing%2Bcar%2B-%2Bc.1931.jpg" width="450" /></a></div>I'm guessing that was made around 1931. I include it because it shows a car being loaded on a passenger ship. My impression is that fashion illustrators and others who are good at depicting people often do poorly when cars are shown. But here Eric gets the form and perspective correctly even though the car is simply indicated, not rendered. This tells me that he really knew his stuff.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-quqclWjkn1Y/XILG-8zDrXI/AAAAAAAAcrw/pr98g25cfA0ei2waHC-IVugzWypOvlBdQCLcBGAs/s1600/Chanel%2B-%2B1938.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="400" height="560" src="https://1.bp.blogspot.com/-quqclWjkn1Y/XILG-8zDrXI/AAAAAAAAcrw/pr98g25cfA0ei2waHC-IVugzWypOvlBdQCLcBGAs/s1600/Chanel%2B-%2B1938.png" width="350" /></a></div>A 1938 illustration showing Eric's mature style.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-wXSLqBR13pM/XILHAb9jDAI/AAAAAAAAcr0/5QexT3gDCQcFvMnKHQOoYxM1B1FuZk6FQCLcBGAs/s1600/Illustration%2B-%2B1939.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="767" data-original-width="600" height="460" src="https://1.bp.blogspot.com/-wXSLqBR13pM/XILHAb9jDAI/AAAAAAAAcr0/5QexT3gDCQcFvMnKHQOoYxM1B1FuZk6FQCLcBGAs/s1600/Illustration%2B-%2B1939.jpg" width="400" /></a></div>This was probably done in 1939 after World War 2 started, but before France was defeated. It's a railroad coach scene where the subject might be the woman's attire. Next to her is a French Army lieutenant.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-OupID_Tt29Q/XILHEjajQUI/AAAAAAAAcr8/d9NyrUoq_6IQkDBcttJFX3iY4dqJb9GTQCLcBGAs/s1600/Illustration%2B-%2B1943.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="733" data-original-width="571" height="515" src="https://2.bp.blogspot.com/-OupID_Tt29Q/XILHEjajQUI/AAAAAAAAcr8/d9NyrUoq_6IQkDBcttJFX3iY4dqJb9GTQCLcBGAs/s1600/Illustration%2B-%2B1943.png" width="400" /></a></div>A 1943 illustration made when the Ericksons were in America. Less sketchy than his usual wash illustrations, this is an excellent line drawing.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-v8d3FHJrGAY/XILHGiwQWDI/AAAAAAAAcsA/DlTLFvJBALEGwzdK8chMwu81y3FxP8jkwCLcBGAs/s1600/portrait%2B-%2B1943.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1162" height="550" src="https://1.bp.blogspot.com/-v8d3FHJrGAY/XILHGiwQWDI/AAAAAAAAcsA/DlTLFvJBALEGwzdK8chMwu81y3FxP8jkwCLcBGAs/s1600/portrait%2B-%2B1943.jpg" width="400" /></a></div>Another 1943 work, also excellent. &nbsp;To my embarrassment, I do not recognize the subject of this portrait and cannot find that information on the Web: please comment if you know.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-57180759863606667102019-04-29T01:00:00.000-07:002019-04-29T15:12:34.861-07:00William Orpen's Great War PortraitsWilliam Orpen (1878-1931), who I wrote about <b><u><a href="http://artcontrarian.blogspot.com/2012/04/sir-william-orpen-portraits-women-and.html">here</a></u></b>, is best known as a portrait painter. Biographical information is <b><u><a href="https://en.wikipedia.org/wiki/William_Orpen">here</a></u></b>.<br /><br />During the Great War, Orpen became a war artist attached to the British Army, painting scenes of combat areas and related subjects. Naturally, he also made portraits. Some of these were of enlisted men and junior or mid-level officers. Others were of leading officers and statesmen. In 1919, after the war was over, he painted a series of "unfinished" appearing portraits of leading Army and Royal Navy personalities. Perhaps he left these seemingly incomplete because he painted so many of them and lacked time to make them look finished. They mostly are signed, so Orpen must have regarded them as finished, and the sketchiness was probably intentional. I find these generally more interesting than his more traditionally-done military portraits.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Flk6Ek6ynN4/XC1Eso2igKI/AAAAAAAAb90/OVrPBWwVRzw_x0JNrBal_HO8dsOUgzNQwCLcBGAs/s1600/Winston%2BChurchill%2B-%2B1916.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="549" height="510" src="https://1.bp.blogspot.com/-Flk6Ek6ynN4/XC1Eso2igKI/AAAAAAAAb90/OVrPBWwVRzw_x0JNrBal_HO8dsOUgzNQwCLcBGAs/s1600/Winston%2BChurchill%2B-%2B1916.jpg" width="350" /></a></div><b>Winston Churchill - 1916</b><br />Andrew Roberts, in his recent <b><u><a href="https://www.amazon.com/Churchill-Walking-Destiny-Andrew-Roberts-ebook/dp/B079R3VH13/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1546470914&amp;sr=1-1&amp;keywords=andrew+roberts+churchill">biography</a></u></b> of Churchill states that this was the portrait Churchill though best of himself. It was painted after he returned from the Western Front where he had commanded a battalion for several months.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-9unmphkqsO0/XC1EyUQKGuI/AAAAAAAAb94/SvTMFbyn6NcGcaljr-tim2ex7RirJSILgCLcBGAs/s1600/Field%2BMarshal%2BDouglas%2BHaig%2B-%2B1917.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="670" height="480" src="https://2.bp.blogspot.com/-9unmphkqsO0/XC1EyUQKGuI/AAAAAAAAb94/SvTMFbyn6NcGcaljr-tim2ex7RirJSILgCLcBGAs/s1600/Field%2BMarshal%2BDouglas%2BHaig%2B-%2B1917.jpg" width="400" /></a></div><b><u><a href="https://en.wikipedia.org/wiki/Douglas_Haig,_1st_Earl_Haig">Douglas Haig</a></u></b><br />Commander of the British Army in France during most of the war.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-zWOKSN4IUy8/XC1E5RsZGQI/AAAAAAAAb98/rEt7mhRSITgqZ5SqyPjFRDMnqm25gQGbACLcBGAs/s1600/Maj%2BGen%2BHugh%2BTrenchard%2B-%2B1917.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="685" data-original-width="572" height="480" src="https://4.bp.blogspot.com/-zWOKSN4IUy8/XC1E5RsZGQI/AAAAAAAAb98/rEt7mhRSITgqZ5SqyPjFRDMnqm25gQGbACLcBGAs/s1600/Maj%2BGen%2BHugh%2BTrenchard%2B-%2B1917.jpg" width="400" /></a></div><b><u><a href="https://en.wikipedia.org/wiki/Hugh_Trenchard,_1st_Viscount_Trenchard">Hugh Trenchard</a></u></b><br />Trenchard became commander of the Royal Air Force when it was established in April, 1918. This painting from 1917 and the one of Haig are not "completed," though the use of full background color makes them seem more so than the paintings that follow.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-13unjKEYJ7I/XC1E8FcUFJI/AAAAAAAAb-A/gQlG5FcGkXowHNi-Vi0CneB3mVj60IADgCLcBGAs/s1600/Pershing%2B-%2B1919.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="544" height="470" src="https://2.bp.blogspot.com/-13unjKEYJ7I/XC1E8FcUFJI/AAAAAAAAb-A/gQlG5FcGkXowHNi-Vi0CneB3mVj60IADgCLcBGAs/s1600/Pershing%2B-%2B1919.jpg" width="400" /></a></div><b><u><a href="https://en.wikipedia.org/wiki/John_J._Pershing">John J. Pershing</a></u></b><br />This portrait of Pershing, commander of the American Expeditionary Force in France is one of those seemingly incomplete portraits made in 1919.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-wireVdDGvWs/XC1E_igeusI/AAAAAAAAb-I/eO24SumNbZQgSGgoh2M7DzVbpKv-rNrcgCLcBGAs/s1600/Rosslyn%2BErskine%2BWemyss%2B-%2B1919.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="532" height="480" src="https://1.bp.blogspot.com/-wireVdDGvWs/XC1E_igeusI/AAAAAAAAb-I/eO24SumNbZQgSGgoh2M7DzVbpKv-rNrcgCLcBGAs/s1600/Rosslyn%2BErskine%2BWemyss%2B-%2B1919.jpg" width="400" /></a></div><b><u><a href="https://en.wikipedia.org/wiki/Rosslyn_Wemyss,_1st_Baron_Wester_Wemyss">Rosslyn Wemyss</a></u></b><br />Memyss became First Sea Lord (commander) of the Royal Navy after the war. Note how he is posed. The following two painting use similar poses.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-aav9YK-Rb74/XC1FCr3BOVI/AAAAAAAAb-Q/COT5lW4ynKsvHcY1hgTEMkC8yRtw146dgCLcBGAs/s1600/Field%2BMarshal%2BHenry%2BWilson%252C%2BCIGS%2B-%2B1919.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="323" data-original-width="264" height="490" src="https://2.bp.blogspot.com/-aav9YK-Rb74/XC1FCr3BOVI/AAAAAAAAb-Q/COT5lW4ynKsvHcY1hgTEMkC8yRtw146dgCLcBGAs/s1600/Field%2BMarshal%2BHenry%2BWilson%252C%2BCIGS%2B-%2B1919.jpg" width="400" /></a></div><b><u><a href="https://en.wikipedia.org/wiki/Sir_Henry_Wilson,_1st_Baronet">Henry Wilson</a></u></b><br />Wilson became Chief the Imperial General Staff towards the end of the war and was a member of the anti-Haig faction.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-u-l02MWLcho/XC1FFPdNBPI/AAAAAAAAb-U/S0He43vJChMI6oy-0VEbdCatkpGSGwQtACLcBGAs/s1600/T.E.%2BLawrence%2B-%2B1919.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="460" height="520" src="https://4.bp.blogspot.com/-u-l02MWLcho/XC1FFPdNBPI/AAAAAAAAb-U/S0He43vJChMI6oy-0VEbdCatkpGSGwQtACLcBGAs/s1600/T.E.%2BLawrence%2B-%2B1919.jpg" width="400" /></a></div><b><u><a href="https://en.wikipedia.org/wiki/T._E._Lawrence">T.E. Lawrence</a></u></b><br />Lawrence of Arabia.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-DH7jvdO9sto/XC1FPx3Z-PI/AAAAAAAAb-g/p_RqB8YIlo8JwO5NGMdqn-DwSdaZfOcGgCLcBGAs/s1600/Sir%2BAdrian%2BCarton%2Bde%2BWiart%2B-%2B1919.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="620" height="515" src="https://4.bp.blogspot.com/-DH7jvdO9sto/XC1FPx3Z-PI/AAAAAAAAb-g/p_RqB8YIlo8JwO5NGMdqn-DwSdaZfOcGgCLcBGAs/s1600/Sir%2BAdrian%2BCarton%2Bde%2BWiart%2B-%2B1919.jpg" width="400" /></a></div><b><u><a href="https://en.wikipedia.org/wiki/Adrian_Carton_de_Wiart">Adrian Carton de Wiart</a></u></b><br />Carton de Wiart was insanely brave, losing an eye and arm in combat. This failed to prevent him from serving as a general in World War 2. <br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-guYie9v6flg/XC1FTVhYatI/AAAAAAAAb-k/L9ndIivKxdIS0302nq3DQF9LvuPwCfVgQCLcBGAs/s1600/Ganga%2BSingh%252C%2BMaharaja%2Bof%2BBikaner%2B-%2B1919.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="661" height="485" src="https://3.bp.blogspot.com/-guYie9v6flg/XC1FTVhYatI/AAAAAAAAb-k/L9ndIivKxdIS0302nq3DQF9LvuPwCfVgQCLcBGAs/s1600/Ganga%2BSingh%252C%2BMaharaja%2Bof%2BBikaner%2B-%2B1919.jpg" width="400" /></a></div><b><u><a href="https://en.wikipedia.org/wiki/Ganga_Singh">Ganga Singh</a></u></b><br />Singh was Maharaja of Bikaner, a general in the Indian Army and a member of the Imperial War Cabinet during the war. Sikhs have long been noted for their warrior qualities.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-A4Rmk_URv4k/XC1FVk4-isI/AAAAAAAAb-s/s_C82V6m8NsOqQGGAGnlCW2Nh_flLrlYQCLcBGAs/s1600/David%2BBeatty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="649" data-original-width="540" height="480" src="https://2.bp.blogspot.com/-A4Rmk_URv4k/XC1FVk4-isI/AAAAAAAAb-s/s_C82V6m8NsOqQGGAGnlCW2Nh_flLrlYQCLcBGAs/s1600/David%2BBeatty.jpg" width="400" /></a></div><b><u><a href="https://en.wikipedia.org/wiki/David_Beatty,_1st_Earl_Beatty">David Beatty</a></u></b><br />Beatty commanded battlecruiser squadrons 1914-16 including the battle of Jutland, and then the Grand Fleet, Britain's main naval force.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com2tag:blogger.com,1999:blog-7589105760911453392.post-3611226103503512002019-04-25T01:00:00.000-07:002019-04-25T01:00:12.783-07:00Giacomo Balla, the Oldest Futurist<div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-wNnSWDXXUpM/XCu252XLKoI/AAAAAAAAb8o/sqsVNmasHnQcaCNNytE_oOjYuRlWXY_4gCEwYBhgL/s1600/Dinamismo%2Bdi%2Bun%2Bcane%2Bal%2Bguinzaglio%2B%2528Dynamism%2Bof%2Ba%2BDog%2Bon%2Ba%2BLeash%2529%2B-%2B1912.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="495" data-original-width="600" height="370" src="https://3.bp.blogspot.com/-wNnSWDXXUpM/XCu252XLKoI/AAAAAAAAb8o/sqsVNmasHnQcaCNNytE_oOjYuRlWXY_4gCEwYBhgL/s1600/Dinamismo%2Bdi%2Bun%2Bcane%2Bal%2Bguinzaglio%2B%2528Dynamism%2Bof%2Ba%2BDog%2Bon%2Ba%2BLeash%2529%2B-%2B1912.png" width="450" /></a></div><br />Giacomo Balla (1871-1958), whose most famous painting <i>Dinamismo di un cane al guinzaglio</i> --Dynamism of a Dog on a Leash -- 1912, shown above, spent part of his career as a Futurist, <b><u><a href="https://en.wikipedia.org/wiki/Futurism">Futurism</a></u></b> being one of Italy's two main contributions to early modernist art (the other is Giorgio de Chirico's <b><u><a href="https://en.wikipedia.org/wiki/Metaphysical_art">Metaphysical Art</a></u></b>).<br /><br />Balla's Wikipedia <b><u><a href="https://en.wikipedia.org/wiki/Giacomo_Balla">entry</a></u></b> mentions that he had training at Turin academies and then went to Rome where he painted portraits and did commercial art to earn a living. At some point before 1900 he took up Divisionism, related to Claude Monet- style Impressionism. Then, as Wikipedia states (as of 1 January 2019):<br /><br /><center>"Around 1902, he taught Divisionist techniques to Umberto Boccioni and Gino Severini. Influenced by Filippo Tommaso Marinetti, Giacomo Balla adopted the Futurism style, creating a pictorial depiction of light, movement and speed. He was a signatory of the Futurist Manifesto in 1910."<br /></center><br />So Balla's friendship with Boccioni and Severini, who were early converts to Marinetti's Futurism, seems to have led to his knowledge of and participation in that movement when he was about 40 years old. For a while. Hard-core Futurism and other 1900-1914 modernist movements had lost much of their fizz by 1920, and Balla's style drifted back towards conventional representation by the 1930s.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-o6_5YhtZ71E/XCu2w_szCsI/AAAAAAAAb8c/3RwvKRJMUN4I0aMbGEL-nFU_1KjyX1RSwCLcBGAs/s1600/Famiglia%2BCarelli.%2BEffetto%2Bsera%2B-%2Bc.1901.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="787" data-original-width="577" height="545" src="https://1.bp.blogspot.com/-o6_5YhtZ71E/XCu2w_szCsI/AAAAAAAAb8c/3RwvKRJMUN4I0aMbGEL-nFU_1KjyX1RSwCLcBGAs/s1600/Famiglia%2BCarelli.%2BEffetto%2Bsera%2B-%2Bc.1901.jpg" width="400" /></a></div><b><i>Famiglia Carelli. Effetto sera</i> - c. 1901</b><br />Divisionist-lite dual portrait, the title stating "evening effect."<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-8TIXseOPrPc/XCu3z5SPRTI/AAAAAAAAb9I/YuAzRMdYmzgFtLOaf46td08lbkN7gu79ACLcBGAs/s1600/Lampada%2Bad%2Barco%2B%2528Street%2BLight%2529%2B-%2B1909%2Bdated%252C%2Bthough%2B1910-11%2BMoMA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="913" data-original-width="600" height="535" src="https://1.bp.blogspot.com/-8TIXseOPrPc/XCu3z5SPRTI/AAAAAAAAb9I/YuAzRMdYmzgFtLOaf46td08lbkN7gu79ACLcBGAs/s1600/Lampada%2Bad%2Barco%2B%2528Street%2BLight%2529%2B-%2B1909%2Bdated%252C%2Bthough%2B1910-11%2BMoMA.jpg" width="350" /></a></div><b><i>Lampada ad arco</i> (Street Light) - 1909 dated, though 1910-11</b><br />Perhaps Balla's earliest Futurist painting.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-qjOQ90swy1A/XCu3a7D7GMI/AAAAAAAAb80/MhOfpNIsJB8caust0JLEaEhi9SMFng1twCLcBGAs/s1600/Accelerazione%2B%2528Automobile%2BGaining%2BSpeed%2529%2B-%2B1912.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="567" data-original-width="700" height="405" src="https://4.bp.blogspot.com/-qjOQ90swy1A/XCu3a7D7GMI/AAAAAAAAb80/MhOfpNIsJB8caust0JLEaEhi9SMFng1twCLcBGAs/s1600/Accelerazione%2B%2528Automobile%2BGaining%2BSpeed%2529%2B-%2B1912.jpg" width="500" /></a></div><b><i>Accelerazione</i> (Gaining Speed) - 1912</b><br />Note his signature at the lower left. He often signed his Futurist paintings FUTUR BALLA.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-XJTGlVpgdVY/XCu3o945EsI/AAAAAAAAb84/nAwtlhTNuqodNDmQ0S-Q_lsBYRUSbYhSwCLcBGAs/s1600/Velocita%25CC%2580%2Bastratta%2B%252B%2Brumore%2B%2528Abstract%2BSpeed%2B%252B%2BSound%2529%2B-%2B1912-13.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="415" data-original-width="600" height="345" src="https://4.bp.blogspot.com/-XJTGlVpgdVY/XCu3o945EsI/AAAAAAAAb84/nAwtlhTNuqodNDmQ0S-Q_lsBYRUSbYhSwCLcBGAs/s1600/Velocita%25CC%2580%2Bastratta%2B%252B%2Brumore%2B%2528Abstract%2BSpeed%2B%252B%2BSound%2529%2B-%2B1912-13.png" width="500" /></a></div><b><i>Velocità astratta + rumore</i> (Abstract Speed + Sound) - 1912-13</b><br />This is actually a very early European abstract painting.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-jmLdDaXreKU/XCu3skz0q9I/AAAAAAAAb9A/hRFk9gjZm9gSrGb7d9wcVT_M8iYhbNeoQCLcBGAs/s1600/Velocita%25CC%2580%2Bastratta%2B%2528Abstract%2BVelocity%2529%2B-%2B1913.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="373" data-original-width="600" height="310" src="https://3.bp.blogspot.com/-jmLdDaXreKU/XCu3skz0q9I/AAAAAAAAb9A/hRFk9gjZm9gSrGb7d9wcVT_M8iYhbNeoQCLcBGAs/s1600/Velocita%25CC%2580%2Bastratta%2B%2528Abstract%2BVelocity%2529%2B-%2B1913.jpg" width="500" /></a></div><b><i>Velocità astratta</i> (Abstract Velocity) - 1913</b><br />Some Cubist influence here.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-cS0CbiolGJU/XCu3uoRaswI/AAAAAAAAb9E/MeyuoMS9b3IKuzFAQ_SsldDWYFht--eYgCLcBGAs/s1600/Velocita%25CC%2580%2Bd%2527automobile%2B%2528Speeding%2BAutomobile%2529%2B-%2B%2B1913.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="413" data-original-width="600" height="345" src="https://3.bp.blogspot.com/-cS0CbiolGJU/XCu3uoRaswI/AAAAAAAAb9E/MeyuoMS9b3IKuzFAQ_SsldDWYFht--eYgCLcBGAs/s1600/Velocita%25CC%2580%2Bd%2527automobile%2B%2528Speeding%2BAutomobile%2529%2B-%2B%2B1913.jpg" width="500" /></a></div><b><i>Velocità d'automobile</i> (Speeding Automobile) drawing - 1913</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-gC65ssqibTE/XCu35R49MGI/AAAAAAAAb9Q/H-ZODGv3uhk3Ka3lH5k6n59vPS7B-4KDwCLcBGAs/s1600/Expansion%2Bof%2BSpring%2B-%2B1918.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="657" data-original-width="537" height="430" src="https://2.bp.blogspot.com/-gC65ssqibTE/XCu35R49MGI/AAAAAAAAb9Q/H-ZODGv3uhk3Ka3lH5k6n59vPS7B-4KDwCLcBGAs/s1600/Expansion%2Bof%2BSpring%2B-%2B1918.png" width="400" /></a></div><b>Expansion of Spring - 1918</b><br />Although Balla's signature includes FUTUR, he is drifting from Futurism.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-SPkMcfyWiuM/XCu3_eoSwII/AAAAAAAAb9Y/KbLQCPzG6hcVBVRUFqfpol5x7B-4jYMjwCLcBGAs/s1600/Circular%2BPlanes%2B-%2B1924%2BMoMA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="809" data-original-width="800" height="355" src="https://4.bp.blogspot.com/-SPkMcfyWiuM/XCu3_eoSwII/AAAAAAAAb9Y/KbLQCPzG6hcVBVRUFqfpol5x7B-4jYMjwCLcBGAs/s1600/Circular%2BPlanes%2B-%2B1924%2BMoMA.jpg" width="350" /></a></div><b>Circular Planes - 1924</b><br />An abstraction -- now FUTUR has become FUT.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-8lb6Z9-kXiA/XCu4Dcok1UI/AAAAAAAAb9c/B_TRRHoaIg09oj-K1mN2pbgYjKYAfT3tACLcBGAs/s1600/Fanciulla%2Bpensosa%2B-%2B1932.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="786" data-original-width="600" height="525" src="https://2.bp.blogspot.com/-8lb6Z9-kXiA/XCu4Dcok1UI/AAAAAAAAb9c/B_TRRHoaIg09oj-K1mN2pbgYjKYAfT3tACLcBGAs/s1600/Fanciulla%2Bpensosa%2B-%2B1932.jpg" width="400" /></a></div><b><i>Fanciulla pensosa</i> (Fanciulla Pondering)- 1932</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-EHtn6BYgvsw/XCu4FRB5PhI/AAAAAAAAb9k/5T4GqquI-00SqxeFvmduZBtJkZ7c0Y6lACLcBGAs/s1600/Chiacchieri%25CC%2580%2B%2528Chatting%2529%2B-%2B1934.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="892" data-original-width="1080" height="410" src="https://4.bp.blogspot.com/-EHtn6BYgvsw/XCu4FRB5PhI/AAAAAAAAb9k/5T4GqquI-00SqxeFvmduZBtJkZ7c0Y6lACLcBGAs/s1600/Chiacchieri%25CC%2580%2B%2528Chatting%2529%2B-%2B1934.jpg" width="500" /></a></div><b><i>Chiacchierì</i> (Chatting) - 1934</b><br />Two conventional, nicely made paintings. The one immediatey above seems to show some Balla paintings in the background.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-14759032472282658462019-04-22T01:00:00.000-07:002019-04-22T01:00:18.765-07:00Stanley Arthurs, Early Howard Pyle StudentStanley M. Arthurs (1877-1950) was one of the earliest select students of famed illustrator <b><u><a href="https://en.wikipedia.org/wiki/Howard_Pyle">Howard Pyle</a></u></b>. Arthurs first encountered Pyle at the Drexel Institute in west Philadelphia near the Penn campus where Pyle was teaching art. (I myself once taught there: an introductory Sociology class while I was a grad student at Penn.)<br /><br />Pyle decided to continue teaching at his home base in the Wilmington Delaware - Brandywine Pennsylvania area -- but instructing only those who he considered had great professional potential. The result was something now referred to as the <b><u><a href="https://en.wikipedia.org/wiki/Brandywine_School">Brandywine School</a></u></b> of illustration.<br /><br />The most lengthy biography I could find on the Internet regarding Arthurs was in&nbsp;<b><u><a href="http://www.delart.org/wordpress/wp-content/uploads/2016/02/Arthurs-Stanley.pdf">this</a></u></b> PDF file. Below is an extraction of that part of the document.<br /><br /><center>"Stanley Massey Arthurs was born November 27, 1877, to Nancy and Joshua Arthurs, in Kenton, Delaware, where Joshua Arthurs owned a general store. Arthurs was interested in art as a boy, and, after leaving school, he studied in Wilmington with Clawson Hammitt, who urged him to study with Howard Pyle. Convinced of his talent, Pyle enthusiastically accepted him as a student. In 1897 Arthurs joined the classes Pyle was teaching at Drexel Institute, and in 1898 he was invited to attend the summer scholarship classes at Chadds Ford, Pennsylvania. His first illustration was published in the December 2, 1899 issue of Harper's Weekly. When Pyle left Drexel to open his own school in Wilmington, Arthurs went with him and worked in one of the studios Pyle had built for the school. When Pyle died in 1911, Arthurs purchased his studio and, until he died, led a quiet, solitary life there, dedicated to his work. He lectured occasionally at the Wilmington Academy and did some teaching in his studio.<br /><br />Although Arthurs illustrated a great deal of popular literature, his real specialty was illustrating historical texts. His pictures were as historically accurate as he could make them. He did several murals of historical subjects for the State House in Dover, Delaware, and for the Minnesota State capitol building and produced a long series of historical paintings for DuPont Company calendars and the DuPont Magazine. Many of these were published in book form in the <i>American Historical Scene</i> in 1935. The historical illustrations occupied most of Arthurs' attention after 1920, but he also painted landscapes, not only of local scenes but also in Florida, the Western states, and Europe.<br /><br />Source: Elzea, Rowland and Elizabeth H. Hawkes, eds. <i>A Small School of Art: The Students of Howard Pyle</i>. Wilmington: Delaware Art Museum, 1980."<br /></center><br />Examples of Arthurs' work are presented below. I find his painting style a bit too heavy for my taste, but it was mainstream -- especially in the period 1900-1920.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-0Rola6qqlZ0/XCExln6KyUI/AAAAAAAAb2E/jqWeyfXMbeAaHnIT6zlGYo5hYGDw2qGcACLcBGAs/s1600/Death%2Bof%2BModred%2B-%2B1906.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="612" data-original-width="400" height="610" src="https://4.bp.blogspot.com/-0Rola6qqlZ0/XCExln6KyUI/AAAAAAAAb2E/jqWeyfXMbeAaHnIT6zlGYo5hYGDw2qGcACLcBGAs/s1600/Death%2Bof%2BModred%2B-%2B1906.jpg" width="400" /></a></div><b>Death of Modred - 1906</b><br />Modred was a traitor to King Arthur.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-RNKa1CkBVmk/XCExoAUpzdI/AAAAAAAAb2I/-Isy1DZBahEXlSDKFrDc7htKCLC9EMEKQCLcBGAs/s1600/Old%2BBoston%2BPost%2BRoad%2B-%2BScribner%2527s%2BNov.%2B1908%2B-%2B1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1144" data-original-width="800" height="570" src="https://1.bp.blogspot.com/-RNKa1CkBVmk/XCExoAUpzdI/AAAAAAAAb2I/-Isy1DZBahEXlSDKFrDc7htKCLC9EMEKQCLcBGAs/s1600/Old%2BBoston%2BPost%2BRoad%2B-%2BScribner%2527s%2BNov.%2B1908%2B-%2B1.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-UUn3LEpDRpg/XCExqIaFOeI/AAAAAAAAb2M/y4cUHgA4CxEYo0i-GJ6wgdLvZE22xgDDgCLcBGAs/s1600/Old%2BBoston%2BPost%2BRoad%2B-%2BScribner%2527s%2BNov.%2B1908%2B-%2B2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="800" height="560" src="https://3.bp.blogspot.com/-UUn3LEpDRpg/XCExqIaFOeI/AAAAAAAAb2M/y4cUHgA4CxEYo0i-GJ6wgdLvZE22xgDDgCLcBGAs/s1600/Old%2BBoston%2BPost%2BRoad%2B-%2BScribner%2527s%2BNov.%2B1908%2B-%2B2.jpg" width="400" /></a></div><b>Old Boston Post Road</b><br />Two illustrations from an article Arthurs wrote for the November 1908 issue of Scribner's Magazine.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-djB4oCQ9M2Y/XCExvI6X67I/AAAAAAAAb2Q/zTlCGR9RC6o9ugymkWy5aiaJKqKmHonaQCLcBGAs/s1600/Woman%2Bwith%2BParasol%2B-%2Bc.1905.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="536" data-original-width="335" height="535" src="https://1.bp.blogspot.com/-djB4oCQ9M2Y/XCExvI6X67I/AAAAAAAAb2Q/zTlCGR9RC6o9ugymkWy5aiaJKqKmHonaQCLcBGAs/s1600/Woman%2Bwith%2BParasol%2B-%2Bc.1905.jpg" width="335" /></a></div><b>Woman with Parasol - c. 1905</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-C3pGRCjn-Ys/XCEyHcGyxjI/AAAAAAAAb24/F5EgaGcIIlEnE23y9qFJFzRyAPKJgmC2QCLcBGAs/s1600/The%2BThird%2BMinnesota%2BEntering%2BLittle%2BRock%2B-%2BMinesota%2BState%2BCapitol.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="397" data-original-width="525" height="350" src="https://3.bp.blogspot.com/-C3pGRCjn-Ys/XCEyHcGyxjI/AAAAAAAAb24/F5EgaGcIIlEnE23y9qFJFzRyAPKJgmC2QCLcBGAs/s1600/The%2BThird%2BMinnesota%2BEntering%2BLittle%2BRock%2B-%2BMinesota%2BState%2BCapitol.jpg" width="500" /></a></div><b>The Third Minnesota Entering Little Rock - Minnesota State Capitol mural</b><br />Civil War Scene.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-yImc9QeW-ec/XCEx2ejmMMI/AAAAAAAAb2Y/V8LMMkqQbEsBmdMgR_nj3wC7A31TuZR7wCLcBGAs/s1600/Franklin%2Bthe%2BPrinter%2B-%2B1915.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="575" data-original-width="385" height="575" src="https://1.bp.blogspot.com/-yImc9QeW-ec/XCEx2ejmMMI/AAAAAAAAb2Y/V8LMMkqQbEsBmdMgR_nj3wC7A31TuZR7wCLcBGAs/s1600/Franklin%2Bthe%2BPrinter%2B-%2B1915.jpg" width="385" /></a></div><b>Franklin the Printer - 1915</b><br />Benjamin Franklin in Philadelphia.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-yfo-KnMp9lI/XCEyAmW_HjI/AAAAAAAAb2w/If8uHq58ofgiy-gmSKHzyh1N0c-gscSuACLcBGAs/s1600/Waiting%2Bat%2Bthe%2BFord%2B-%2B1915.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="746" data-original-width="488" height="610" src="https://3.bp.blogspot.com/-yfo-KnMp9lI/XCEyAmW_HjI/AAAAAAAAb2w/If8uHq58ofgiy-gmSKHzyh1N0c-gscSuACLcBGAs/s1600/Waiting%2Bat%2Bthe%2BFord%2B-%2B1915.png" width="400" /></a></div><b>Waiting at the Ford - 1915</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-h9qSlzEDkfo/XCEx5V6yXVI/AAAAAAAAb2g/m8z6pFo9QVgf5mKDMJMTXcIGvxOeWxHYwCLcBGAs/s1600/The%2BFleet%2B-%2B1912.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="1067" height="235" src="https://4.bp.blogspot.com/-h9qSlzEDkfo/XCEx5V6yXVI/AAAAAAAAb2g/m8z6pFo9QVgf5mKDMJMTXcIGvxOeWxHYwCLcBGAs/s1600/The%2BFleet%2B-%2B1912.jpg" width="500" /></a></div><b>The Fleet - 1912</b><br />A somewhat sloppy work. I don't know if this was simply a sketch or if it was published. The warships are not convincingly portrayed -- too sketchy and the perspective seems off.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-vlHXwC7FcTw/XCEx8JaS1SI/AAAAAAAAb2o/ENMYDDqL9JoIzjUmY_scw8TeCpmXtyMGwCLcBGAs/s1600/America%2527s%2BAnswer%2Bto%2Bthe%2BSubmarine%2B-%2Bc.1918.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="431" height="545" src="https://3.bp.blogspot.com/-vlHXwC7FcTw/XCEx8JaS1SI/AAAAAAAAb2o/ENMYDDqL9JoIzjUmY_scw8TeCpmXtyMGwCLcBGAs/s1600/America%2527s%2BAnswer%2Bto%2Bthe%2BSubmarine%2B-%2Bc.1918.jpg" width="400" /></a></div><b>America's Answer to the Submarine - c. 1918</b><br />A Great War vintage illustration supporting the war effort, though I don't know where it was published. Arthurs seems to have used artistic license here because submarines were usually destroyed using depth charges. Unless they were caught on the surface, as shown here. But about the only way a German submarine could be caught on the surface by a warship this closely would be if it had been damaged by a depth charge and had to surface. Fortunately for Arthurs, most viewers were probably ignorant of anti-submarine warfare, so such details didn't really matter.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-DpbLag_MLa8/XCEyLAoJUkI/AAAAAAAAb28/vqx8eB2QLik048DMPaTXtw2BS-a-exrdgCLcBGAs/s1600/Trimming%2Bthe%2BTree.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1232" data-original-width="1000" height="495" src="https://1.bp.blogspot.com/-DpbLag_MLa8/XCEyLAoJUkI/AAAAAAAAb28/vqx8eB2QLik048DMPaTXtw2BS-a-exrdgCLcBGAs/s1600/Trimming%2Bthe%2BTree.jpg" width="400" /></a></div><b>Trimming the Tree</b><br />Probably from around 1926. The reproduction was intended to be two-color, a common magazine practice in those days.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-mBq0kVYvKPo/XCEyNCYIgQI/AAAAAAAAb3E/ZXCCN9fteSsIoYCYEmis9cWeDnRpXPYGgCLcBGAs/s1600/New%2BYear%2527s%2BEve%2B-%2B1928.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="672" data-original-width="500" height="540" src="https://3.bp.blogspot.com/-mBq0kVYvKPo/XCEyNCYIgQI/AAAAAAAAb3E/ZXCCN9fteSsIoYCYEmis9cWeDnRpXPYGgCLcBGAs/s1600/New%2BYear%2527s%2BEve%2B-%2B1928.jpg" width="400" /></a></div><b>New Year's Eve - 1928</b></center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-5080950637334755742019-04-18T01:00:00.000-07:002019-04-18T01:00:07.478-07:00In the Beginning: Edgar DegasEdgar Degas (1834-1917) seems forever linked to the French Impressionists. Although he was involved with their exhibitions, the styles he used over his career were considerably different from those of Claude Monet and Camille Pissarro, archetypical Impressionists. A long Wikipedia entry on Degas is <b><u><a href="https://en.wikipedia.org/wiki/Edgar_Degas">here</a></u></b>.<br /><br />The present post presents some of his earlier paintings, most from when he was under 35 years old. They were painted before the first exhibit of Impressionist works in 1874 the year Degas turned 40, though the movement had begun to form in the early 1860s. Into the 1860s Degas' style tended to be traditional, but not hard-core Academic.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-EIe5C3EL_7k/XCf0RKFSilI/AAAAAAAAb5U/alIE9EinhewPAVXyvPYo3pqSD9tc3Qp3gCLcBGAs/s1600/Rene%25CC%2581%2Bde%2BGas%2B-%2Bc.1855%2BSMITH.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="796" data-original-width="628" height="510" src="https://2.bp.blogspot.com/-EIe5C3EL_7k/XCf0RKFSilI/AAAAAAAAb5U/alIE9EinhewPAVXyvPYo3pqSD9tc3Qp3gCLcBGAs/s1600/Rene%25CC%2581%2Bde%2BGas%2B-%2Bc.1855%2BSMITH.jpg" width="400" /></a></div><b>René De Gas - c. 1855</b><br />The artist's younger brother who later ran up large debts in New Orleans that Edgar took it upon himself to repay.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ybxPEtCTUV8/XCf0aWVbOkI/AAAAAAAAb5Y/grbuZ7XqHS0GjEXvbYp8rZyg4coYSAnFACLcBGAs/s1600/Rene%25CC%2581-Hillaire%2BDe%2BGas%2B%2528grandfather%2529%2B-%2B1857%2BORSAY.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1104" data-original-width="833" height="535" src="https://1.bp.blogspot.com/-ybxPEtCTUV8/XCf0aWVbOkI/AAAAAAAAb5Y/grbuZ7XqHS0GjEXvbYp8rZyg4coYSAnFACLcBGAs/s1600/Rene%25CC%2581-Hillaire%2BDe%2BGas%2B%2528grandfather%2529%2B-%2B1857%2BORSAY.jpg" width="400" /></a></div><b>René-Hillaire De Gas - 1857</b><br />Degas' grandfather.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-g8nfm9tPMRc/XCf06t7yiZI/AAAAAAAAb5k/YM_q-qBmYGIhL0Tr3bkBurCAckl1IafpwCLcBGAs/s1600/An%2BOld%2BItalian%2BWoman%2B-%2B1857%2BMET.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1207" data-original-width="981" height="495" src="https://3.bp.blogspot.com/-g8nfm9tPMRc/XCf06t7yiZI/AAAAAAAAb5k/YM_q-qBmYGIhL0Tr3bkBurCAckl1IafpwCLcBGAs/s1600/An%2BOld%2BItalian%2BWoman%2B-%2B1857%2BMET.jpg" width="400" /></a></div><b>An Old Italian Woman - 1857</b><br />He spent the late 1850s in Italy.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-I1GDc0FLcXM/XCf1K5oMzeI/AAAAAAAAb5s/5WUs4CvpmlIjp84pa6XwrEh5tAqmNbbRACLcBGAs/s1600/The%2BDaughter%2Bof%2BJephtha%2B-%2B1859-60%2BSMITH%2BCOL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="694" data-original-width="1071" height="325" src="https://2.bp.blogspot.com/-I1GDc0FLcXM/XCf1K5oMzeI/AAAAAAAAb5s/5WUs4CvpmlIjp84pa6XwrEh5tAqmNbbRACLcBGAs/s1600/The%2BDaughter%2Bof%2BJephtha%2B-%2B1859-60%2BSMITH%2BCOL.jpg" width="500" /></a></div><b>The Daughter of Jephtha - 1859-60</b><br />A classical theme, but not painted in a truly Academic manner: an academician would consider it "unfinished," which it literally is.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-fkZl_iYJDdI/XCf1Wu92t0I/AAAAAAAAb5w/9a9Ulz8WKuAllyTcuqEfNN2gfFFKiKloQCLcBGAs/s1600/Young%2BWoman%2Bwith%2BIbis%2B-%2B1860-62%2BMET.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1238" data-original-width="942" height="525" src="https://2.bp.blogspot.com/-fkZl_iYJDdI/XCf1Wu92t0I/AAAAAAAAb5w/9a9Ulz8WKuAllyTcuqEfNN2gfFFKiKloQCLcBGAs/s1600/Young%2BWoman%2Bwith%2BIbis%2B-%2B1860-62%2BMET.jpg" width="400" /></a></div><b>Young Woman with Ibises - 1860-62</b><br />Most of the detailing is on her garment. Note the imaginary cityscape in the background -- here Degas seems to be influenced by the Renaissance paintings he studied in Rome.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Co8sGP3aeuM/XCf1nckkBQI/AAAAAAAAb58/53msUQJMroEcCSP8Obtfko9zDKvIVZ1IwCLcBGAs/s1600/Portrait%2Bof%2Ba%2BLady%2Bin%2BGrey%2B-%2Bc.1865%2BMET.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1111" data-original-width="873" height="510" src="https://1.bp.blogspot.com/-Co8sGP3aeuM/XCf1nckkBQI/AAAAAAAAb58/53msUQJMroEcCSP8Obtfko9zDKvIVZ1IwCLcBGAs/s1600/Portrait%2Bof%2Ba%2BLady%2Bin%2BGrey%2B-%2Bc.1865%2BMET.jpg" width="400" /></a></div><b>Portrait of a Lady in Gray - c. 1865</b><br />Degas had the habit of not finishing his paintings. Here the woman's face and upper body seem completed, but her arm and hand are sketched in.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-5-vpG_63HcY/XCf1zDSsMBI/AAAAAAAAb6A/JMvXUDlWkE0nToVhOhn0_vd7OHj-OlopQCLcBGAs/s1600/The%2BBellelli%2BFamily%2B-%2Bc.1860-62%2BORSAY.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1600" height="400" src="https://3.bp.blogspot.com/-5-vpG_63HcY/XCf1zDSsMBI/AAAAAAAAb6A/JMvXUDlWkE0nToVhOhn0_vd7OHj-OlopQCLcBGAs/s1600/The%2BBellelli%2BFamily%2B-%2Bc.1860-62%2BORSAY.jpg" width="500" /></a></div><b>The Bellelli Family - 1858-1867</b><br />Perhaps Degas' best-known early work, depicting his Italian relatives.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-3CE9LmHWoQU/XCf4-B1YBLI/AAAAAAAAb6M/HcLbSjvVCpI9tHw7-tyqclqoqotSvBzPwCLcBGAs/s1600/The%2BCotton%2BExchange%2Bin%2BNew%2BOrleans%2B-%2B1873.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1010" data-original-width="1280" height="395" src="https://1.bp.blogspot.com/-3CE9LmHWoQU/XCf4-B1YBLI/AAAAAAAAb6M/HcLbSjvVCpI9tHw7-tyqclqoqotSvBzPwCLcBGAs/s1600/The%2BCotton%2BExchange%2Bin%2BNew%2BOrleans%2B-%2B1873.jpg" width="500" /></a></div><b>The Cotton Exchange in New Orleans - 1873</b><br />Painted years later than the others, but its style remains essentially traditional. However, note what seems to be forced perspective of the room.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-83643330117197186232019-04-15T01:00:00.000-07:002019-04-15T01:00:07.636-07:00Examples of Socialist Realism Group PortraitsSome Soviet Social Realism paintings were very large, and a number of these were group portraits with large casts. Often the groups portrayed were Party leaders or members of prominent Russian organizations. Others were of common folks.<br /><br />When I was in Málaga, Spain in November I visited a branch of Saint Petersburg's excellent&nbsp;<b><u><a href="http://en.rusmuseum.ru/about/malaga/">Russian Museum</a></u></b>. It was holding a year-long (ending February 2019) exhibit titled "The Radiant Future: Socialist Realism in Art." A fine exhibit. Plenty of examples, some of which I even knew about before I visited. Of course I took lots of snapshots. Examples of some of those group portraits are shown below. Click on images to enlarge.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-77_2vcYr_t4/XBvZyjj_LlI/AAAAAAAAbyY/eggha62Dg8UVy7uDbf33MaQCIMt2MwWAwCLcBGAs/s1600/Odintsov%252C%2BV.G.%2B-%2BSergei%2BKirov%2Bin%2BAstrakhan%2Bin%2B1919%2B-%2B1940-49%2B-%2B1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://4.bp.blogspot.com/-77_2vcYr_t4/XBvZyjj_LlI/AAAAAAAAbyY/eggha62Dg8UVy7uDbf33MaQCIMt2MwWAwCLcBGAs/s1600/Odintsov%252C%2BV.G.%2B-%2BSergei%2BKirov%2Bin%2BAstrakhan%2Bin%2B1919%2B-%2B1940-49%2B-%2B1.JPG" width="500" /></a></div><b>Odintsov, V.G. - Sergei Kirov in Astrakhan in 1919 - 1940-49 </b><br />This painting's composition seems peculiar. Which man is Kirov? (A prominent Bolshevik later assassinated in 1934, possibly on orders from Stalin and then treated as a hero for political purposes.)&nbsp; Is Kirov the man in dark clothes toward the upper left who appears to be gesturing, but actually is holding onto a line?&nbsp; Or is he the man towards the upper right in a light jacket and khaki uniform?&nbsp; I guess the latter because he is better lighted and at least a few people in the lower center of the picture are looking at him.&nbsp; But why are most other folks not paying him attention? Also note that the composition is in the form of an X, but where the lines cross there is only the side of a man's head.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-H2xQneHysNQ/XBvZ2vunuSI/AAAAAAAAbyc/E7dr_ZKs2uwFJHQppcVamxRabGPF3sbZwCLcBGAs/s1600/Odintsov%252C%2BV.G.%2B-%2BSergei%2BKirov%2Bin%2BAstrakhan%2Bin%2B1919%2B-%2B1940-49%2B-%2B2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="720" height="535" src="https://3.bp.blogspot.com/-H2xQneHysNQ/XBvZ2vunuSI/AAAAAAAAbyc/E7dr_ZKs2uwFJHQppcVamxRabGPF3sbZwCLcBGAs/s1600/Odintsov%252C%2BV.G.%2B-%2BSergei%2BKirov%2Bin%2BAstrakhan%2Bin%2B1919%2B-%2B1940-49%2B-%2B2.JPG" width="400" /></a></div>Left side details.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-UiPAfbP0fdo/XBvZ6QCOy9I/AAAAAAAAbyg/f8AWk_ym8uw9eh5pTZLioIrAZLgDnUbyQCLcBGAs/s1600/Odintsov%252C%2BV.G.%2B-%2BSergei%2BKirov%2Bin%2BAstrakhan%2Bin%2B1919%2B-%2B1940-49%2B-%2B3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://2.bp.blogspot.com/-UiPAfbP0fdo/XBvZ6QCOy9I/AAAAAAAAbyg/f8AWk_ym8uw9eh5pTZLioIrAZLgDnUbyQCLcBGAs/s1600/Odintsov%252C%2BV.G.%2B-%2BSergei%2BKirov%2Bin%2BAstrakhan%2Bin%2B1919%2B-%2B1940-49%2B-%2B3.JPG" width="500" /></a></div>Right side details.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/--HTUiRe2zN0/XBvaDWPJxII/AAAAAAAAbyo/5O30cQcpWUskdNQE_f6JJapth1a3AM77gCLcBGAs/s1600/Lukomsky%252C%2BIlya%2B-%2BMeeting%2Bof%2Ba%2BFactory%2BParty%2BCommittee%2B-%2B1937.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://1.bp.blogspot.com/--HTUiRe2zN0/XBvaDWPJxII/AAAAAAAAbyo/5O30cQcpWUskdNQE_f6JJapth1a3AM77gCLcBGAs/s1600/Lukomsky%252C%2BIlya%2B-%2BMeeting%2Bof%2Ba%2BFactory%2BParty%2BCommittee%2B-%2B1937.JPG" width="500" /></a></div><b>Lukomsky, Ilya - Meeting of a Factory Party Committee - 1937</b><br />Some background regarding the painting is in <b><u><a href="https://www.amazon.com/Under-Stalin-Matthew-Cullerne-Bown/dp/0841912998/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1544812773&amp;sr=1-1&amp;keywords=art+under+stalin">this book</a></u></b>. On page 108 Matthew Cullerne Brown writes:<br />"[T]the subject of which is a komsomol [Party youth organization] member's acceptance into the party, depicts the actual membership of the Stalinogorsk communist party at the time. The applicant stands at the left, answering with anxious resolve questions put to him by the committee. The painting lacks drama, but the social importance of its theme -- this moment was advertised as being the most significant in a person's life -- caused it to be widely discussed in the art press of the time."<br /><br />This painting has a whiff of the primitive to it, but I don't know if this was a purposeful affect or the artist's actual style.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-p38KSfHKR80/XBvaL7-KFOI/AAAAAAAAbyw/V39QjX9Nalgn1iNeUPLnlXxoXhJbXuNOACLcBGAs/s1600/Nalbandian%252C%2BDmitri%2B-%2BFor%2Bthe%2BHappiness%2Bof%2Bthe%2BPeople%2B%2528Session%2Bof%2Bthe%2BPolitburo%2Bof%2Bthe%2BCentral%2BCommittee%2Bof%2Bthe%2BAll-Union%2BCommunist%2BParty%2529%2B-%2B1949%2B-%2B1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://3.bp.blogspot.com/-p38KSfHKR80/XBvaL7-KFOI/AAAAAAAAbyw/V39QjX9Nalgn1iNeUPLnlXxoXhJbXuNOACLcBGAs/s1600/Nalbandian%252C%2BDmitri%2B-%2BFor%2Bthe%2BHappiness%2Bof%2Bthe%2BPeople%2B%2528Session%2Bof%2Bthe%2BPolitburo%2Bof%2Bthe%2BCentral%2BCommittee%2Bof%2Bthe%2BAll-Union%2BCommunist%2BParty%2529%2B-%2B1949%2B-%2B1.JPG" width="500" /></a></div><b>Nalbandian, Dmitri - For the Happiness of the People (Session of the Politburo of the Central Committee of the All-Union Communist Party) - 1949</b><br />The room shown here is not at all fancy. Was Stalin's Kremlin actually like this, or did the artist make the place appropriately proletarian?<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-2hwaC6FMT2E/XBvaOv4_b-I/AAAAAAAAby0/WbC0dYxG7h4-lclDIdJL1JpmlUDFENvpQCLcBGAs/s1600/Nalbandian%252C%2BDmitri%2B-%2BFor%2Bthe%2BHappiness%2Bof%2Bthe%2BPeople%2B%2528Session%2Bof%2Bthe%2BPolitburo%2Bof%2Bthe%2BCentral%2BCommittee%2Bof%2Bthe%2BAll-Union%2BCommunist%2BParty%2529%2B-%2B1949%2B-%2B2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://2.bp.blogspot.com/-2hwaC6FMT2E/XBvaOv4_b-I/AAAAAAAAby0/WbC0dYxG7h4-lclDIdJL1JpmlUDFENvpQCLcBGAs/s1600/Nalbandian%252C%2BDmitri%2B-%2BFor%2Bthe%2BHappiness%2Bof%2Bthe%2BPeople%2B%2528Session%2Bof%2Bthe%2BPolitburo%2Bof%2Bthe%2BCentral%2BCommittee%2Bof%2Bthe%2BAll-Union%2BCommunist%2BParty%2529%2B-%2B1949%2B-%2B2.JPG" width="500" /></a></div>Detail of the pervious image. Among those easily identifiable are Anastas Mikoyan (standing, with mustache), Nikita Kruschchev (to the right of Mikoyan), Vyacheslav Molotov (seated, wearing glasses), and Josef Stalin (in uniform, drawing on the map).<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-yXtJULj7sPg/XBvaTubbtyI/AAAAAAAAby8/WYaumr26LyQtI7FaDSgahZUlzyKCpUGjQCLcBGAs/s1600/Efanov%252C%2BVasily%2B-%2BSession%2Bod%2Bthe%2BPresidium%2Bof%2Bthe%2BAcademy%2Bof%2BSciences%2Bof%2Bthe%2BUSSR%2B-%2B1951%2B-%2B1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://3.bp.blogspot.com/-yXtJULj7sPg/XBvaTubbtyI/AAAAAAAAby8/WYaumr26LyQtI7FaDSgahZUlzyKCpUGjQCLcBGAs/s1600/Efanov%252C%2BVasily%2B-%2BSession%2Bod%2Bthe%2BPresidium%2Bof%2Bthe%2BAcademy%2Bof%2BSciences%2Bof%2Bthe%2BUSSR%2B-%2B1951%2B-%2B1.JPG" width="500" /></a></div><b>Efanov, Vasily - Session of the Presidium of the Academy of Sciences of the USSR - 1951</b><br />Efanov, also rendered as Yefanov, was perhaps the best Socialist Realist portrait painter. Here he creates a believable scene with some attendees focusing on the lecturer, others doing other things. At the far left is a man reading something, and there are others scattered across the room doing the same. At the center rear is an attractive secretary in pink, the only cast member in sunlight (Efanov liked to depict pretty young women). Viewing it all are sculptural busts of Lenin and Stalin.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-ATlU95Vjk9A/XBvaV8q1lVI/AAAAAAAAbzA/1AZRjG0ltsc3WmVB60y2n9vYDerZvSnfgCLcBGAs/s1600/Efanov%252C%2BVasily%2B-%2BSession%2Bod%2Bthe%2BPresidium%2Bof%2Bthe%2BAcademy%2Bof%2BSciences%2Bof%2Bthe%2BUSSR%2B-%2B1951%2B-%2B2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://2.bp.blogspot.com/-ATlU95Vjk9A/XBvaV8q1lVI/AAAAAAAAbzA/1AZRjG0ltsc3WmVB60y2n9vYDerZvSnfgCLcBGAs/s1600/Efanov%252C%2BVasily%2B-%2BSession%2Bod%2Bthe%2BPresidium%2Bof%2Bthe%2BAcademy%2Bof%2BSciences%2Bof%2Bthe%2BUSSR%2B-%2B1951%2B-%2B2.JPG" width="500" /></a></div>Detail view. Nice study of the old gent wearing a hat and sporting medals on his suit jacket.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com2tag:blogger.com,1999:blog-7589105760911453392.post-56211511449059508592019-04-11T01:00:00.000-07:002019-04-11T01:00:11.999-07:00Thornton Oakley, Howard Pyle's Atypical StudentThornton Oakley (1881-1953) received a BA and an MA in architecture from Dear Old Penn (I went there too), as mentioned in his Wikipedia <b><u><a href="https://en.wikipedia.org/wiki/Thornton_Oakley">entry</a></u></b> as well as <b><u><a href="https://www.illustrationhistory.org/artists/thornton-oakley">this</a></u></b> other fairly lengthy source.<br /><br />But he became aware of famed illustrator <b><u><a href="https://en.wikipedia.org/wiki/Howard_Pyle">Howard Pyle</a></u></b> and his training program down the road from Philadelphia in Chadd's Ford, near the Delaware border. So he dropped the idea of becoming an architect and learned illustration, making a successful career at it.<br /><br />Pyle did not deal much or at all on the mechanics of making art. Instead, he stressed psychological factors of picture-making, having to do the the artist becoming intellectually, emotionally and theatrically involved with the subject.<br /><br />Nearly all of Pule's students went on to careers in illustration, some highly successful ones, making illustrations dealing with people in historical or fictional settings. Not so Oakley. Much of his work had to do with industrial scenes having little or nothing in the way of story-telling. Perhaps his architectural training and interests had something to do with this, though he often sought to dramatize his scenes Pyle-like.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-o90Pt8iYeCI/XB_rgAaZM1I/AAAAAAAAb0s/ZnqkpVEBsmwN7Q4-tFJsDZhCkPfsC1tDQCLcBGAs/s1600/Broadway%2Bscene%2B-%2B1905.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="657" height="550" src="https://3.bp.blogspot.com/-o90Pt8iYeCI/XB_rgAaZM1I/AAAAAAAAb0s/ZnqkpVEBsmwN7Q4-tFJsDZhCkPfsC1tDQCLcBGAs/s1600/Broadway%2Bscene%2B-%2B1905.jpg" width="300" /></a></div><b>Broadway scene</b><br />An early illustration.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-4cQ_-qB1760/XB_rjOQGbUI/AAAAAAAAb0w/tHJRRToTSoUfx63_x5XN_i3uh_fsDwrwACLcBGAs/s1600/The%2BBetsy%2BRoss%2BHouse.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="842" data-original-width="549" height="540" src="https://2.bp.blogspot.com/-4cQ_-qB1760/XB_rjOQGbUI/AAAAAAAAb0w/tHJRRToTSoUfx63_x5XN_i3uh_fsDwrwACLcBGAs/s1600/The%2BBetsy%2BRoss%2BHouse.jpg" width="350" /></a></div><b>The Betsy Ross House</b><br />Another work not typical of his later production.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-DXPYZgSTtgs/XB_rpSaTMRI/AAAAAAAAb00/0qIzN13OE5ABTbjluGerJJGt-zsI-T-rgCLcBGAs/s1600/Building%2BMilitary%2BAirplanes.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="665" data-original-width="443" height="525" src="https://4.bp.blogspot.com/-DXPYZgSTtgs/XB_rpSaTMRI/AAAAAAAAb00/0qIzN13OE5ABTbjluGerJJGt-zsI-T-rgCLcBGAs/s1600/Building%2BMilitary%2BAirplanes.png" width="350" /></a></div><b>Building Military Airplanes</b><br />Probably created in 1917 or 1918, showing airplanes destined for non-European service. Planes to be used in France during the Great War were given roundel insignia similar to those of the UK and France, but with the outer band painted red, the middle one blue and the central dot white.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-LKGM69L0j-g/XB_r6O_FG_I/AAAAAAAAb1E/X_WDjiOCErEG1sZlmnhKNdJ1sdBH6LdkACLcBGAs/s1600/Building%2Bthe%2BManhattan%2BBridge.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="887" data-original-width="596" height="520" src="https://3.bp.blogspot.com/-LKGM69L0j-g/XB_r6O_FG_I/AAAAAAAAb1E/X_WDjiOCErEG1sZlmnhKNdJ1sdBH6LdkACLcBGAs/s1600/Building%2Bthe%2BManhattan%2BBridge.png" width="350" /></a></div><b>Building the Manhattan Bridge over the East River</b><br />The bridge was completed in 1909, but I'm not sure when this illustration was.&nbsp; For many years Oakley tended to favor vertical formats for his industrial illustrations as seen here, the preceding image and the two following ones.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-jvM8GVTI6rc/XB_r_m3iGZI/AAAAAAAAb1I/1kpx6C-b4Rw5IjIyBxk2YFdAXu9jkqncgCLcBGAs/s1600/Ocean%2Bliner%2Bpassenger%2Bterminal.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="663" data-original-width="424" height="550" src="https://2.bp.blogspot.com/-jvM8GVTI6rc/XB_r_m3iGZI/AAAAAAAAb1I/1kpx6C-b4Rw5IjIyBxk2YFdAXu9jkqncgCLcBGAs/s1600/Ocean%2Bliner%2Bpassenger%2Bterminal.png" width="350" /></a></div><b>Ocean Liner Passenger Terminal</b><br />These passengers have completed customs inspection and now need to find ground transportation.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-t2QvxV7TO4s/XB_sEtiStuI/AAAAAAAAb1M/UtnieYAC7ekGYTdMzXaQ-Ore_SIcC4NBgCLcBGAs/s1600/Mills.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="451" height="545" src="https://1.bp.blogspot.com/-t2QvxV7TO4s/XB_sEtiStuI/AAAAAAAAb1M/UtnieYAC7ekGYTdMzXaQ-Ore_SIcC4NBgCLcBGAs/s1600/Mills.jpg" width="350" /></a></div><b>Mills</b><br />Oakley usually included a few workers, sometimes to feature them at their tasks, or in this case to provide scale.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-j4qqW1rdmcg/XB_sGloQ54I/AAAAAAAAb1Q/y_oECO7Z8skwqOaNtQbJ0HXFoLVbOg_-QCLcBGAs/s1600/A%2BRadio-Telephone%2BControl%2BRoom.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="558" data-original-width="869" height="320" src="https://2.bp.blogspot.com/-j4qqW1rdmcg/XB_sGloQ54I/AAAAAAAAb1Q/y_oECO7Z8skwqOaNtQbJ0HXFoLVbOg_-QCLcBGAs/s1600/A%2BRadio-Telephone%2BControl%2BRoom.png" width="500" /></a></div><b>Radio-Telephone Control Room</b><br />This looks somewhat like a matte painting for a sci-fi movie.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-6ZHmFILRDw0/XB_sOEhHmiI/AAAAAAAAb1U/HH80BOMQyW0HkmuxkecPUE_SWr_QsCDtwCLcBGAs/s1600/34th%2BStreet%2BSubway%2BPlatform%2B-%2Bc.1940.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="606" data-original-width="1000" height="300" src="https://2.bp.blogspot.com/-6ZHmFILRDw0/XB_sOEhHmiI/AAAAAAAAb1U/HH80BOMQyW0HkmuxkecPUE_SWr_QsCDtwCLcBGAs/s1600/34th%2BStreet%2BSubway%2BPlatform%2B-%2Bc.1940.jpg" width="500" /></a></div><b>Subway Platform, 34th Street</b><br />Probably painted in the very late 1930s or early 1940s, judging by the length of the red-orange skirt the nearest woman is wearing.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-LVt_pmSXZog/XB_sScmrLbI/AAAAAAAAb1c/tb_QzGqxBnME6hU1wvu8l9bOmxUTMJj-ACLcBGAs/s1600/West%2BSide%2BBus%2BTerminal%252C%2BNew%2BYork%2BCity%2B-%2Bc.1942.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="976" data-original-width="1600" height="305" src="https://3.bp.blogspot.com/-LVt_pmSXZog/XB_sScmrLbI/AAAAAAAAb1c/tb_QzGqxBnME6hU1wvu8l9bOmxUTMJj-ACLcBGAs/s1600/West%2BSide%2BBus%2BTerminal%252C%2BNew%2BYork%2BCity%2B-%2Bc.1942.jpg" width="500" /></a></div><b>West Side New York Bus Terminal</b><br />From about the same period.&nbsp; Here Oakley's style had shifted to the sketchier, watercolor-influenced illustration fashion that began in the early 1930s.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-4Hotkzud8Kw/XB_sTumgFnI/AAAAAAAAb1g/neNHo99ugHYa1dqgWwwvlKkS4lN29VhYwCLcBGAs/s1600/Loading%2BC-47%2BTransports%2B-%2B1943.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="364" data-original-width="600" height="305" src="https://2.bp.blogspot.com/-4Hotkzud8Kw/XB_sTumgFnI/AAAAAAAAb1g/neNHo99ugHYa1dqgWwwvlKkS4lN29VhYwCLcBGAs/s1600/Loading%2BC-47%2BTransports%2B-%2B1943.png" width="500" /></a></div><b>Loading a C-47 Transport</b><br />From about 1943, judging by the red-bordered insignia on the aircraft.&nbsp; Actually, most of the planes are C-47s, but the tail of the second aircraft in line is that of a Curtiss C-46.&nbsp; So Oakley clearly was painting this on-site or working from a reference photo.&nbsp; And paying good attention.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-15828373746616480552019-04-08T01:00:00.000-07:002019-04-08T01:00:02.687-07:00Molti Ritratti: King George VKing George V (1865-1936, reigned 1910-1936) was photographed many times, but seems to have had surprisingly few painted portraits made of him. Most of the ones I was able to find on the Internet are shown below. His son, King George VI, whose reign was about half as long had more portraits made, if what can be found on the Internet is any guide. I also find it interesting that George V was portrayed by few of the leading British portrait artists of his time. Information on the life of King George is <b><u><a href="https://en.wikipedia.org/wiki/George_V">here</a></u></b>.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-AQUEs-ew3MA/XCqKoPd4blI/AAAAAAAAb7o/vAmWP26lH8EY2jRIACjrffrmnRP3lXVMgCLcBGAs/s1600/George%2BV%2Bphoto%2Bby%2BLafayette%2B-%2B1926.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="578" height="555" src="https://4.bp.blogspot.com/-AQUEs-ew3MA/XCqKoPd4blI/AAAAAAAAb7o/vAmWP26lH8EY2jRIACjrffrmnRP3lXVMgCLcBGAs/s1600/George%2BV%2Bphoto%2Bby%2BLafayette%2B-%2B1926.jpg" width="400" /></a></div><b>By the Lafayette photography firm - 1926</b><br />Reference photo.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-irTqI6btxDU/XCqK5PaHV3I/AAAAAAAAb7w/p8KBkBUxai4mkegfoo7beHt4dHe4eViKgCLcBGAs/s1600/George%2BV%2Bby%2BJohn%2BBerrie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="944" data-original-width="717" height="525" src="https://1.bp.blogspot.com/-irTqI6btxDU/XCqK5PaHV3I/AAAAAAAAb7w/p8KBkBUxai4mkegfoo7beHt4dHe4eViKgCLcBGAs/s1600/George%2BV%2Bby%2BJohn%2BBerrie.jpg" width="400" /></a></div><b>By <u><a href="http://oxfordindex.oup.com/view/10.1093/benz/9780199773787.article.B00401176">John Berrie</a></u></b><br />Shown as colonel of his army regiment. His early career was as an active-duty officer in the Royal Navy, the army connection shown here was ceremonial.&nbsp; I think this is the least well-done of the set, especially due to the unconvincing depiction of the King's body.&nbsp; Perhaps Berrie did the head during sittings and painted the uniform dressed on a mannequin in his studio .<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-V20KtiLkUl8/XCqK-29IKWI/AAAAAAAAb70/jbj6PH4BPBY5s1OYpfGMZ4iooZ7gcTaPgCLcBGAs/s1600/George%2BV%2Bby%2BIsaac%2BSnowman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="882" height="545" src="https://2.bp.blogspot.com/-V20KtiLkUl8/XCqK-29IKWI/AAAAAAAAb70/jbj6PH4BPBY5s1OYpfGMZ4iooZ7gcTaPgCLcBGAs/s1600/George%2BV%2Bby%2BIsaac%2BSnowman.jpg" width="400" /></a></div><b>By <u><a href="https://en.wikipedia.org/wiki/Isaac_Snowman">Isaac Snowman</a></u></b><br />Another lesser work.&nbsp; I have no date for this, but it was probably painted early in George V's reign.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-0Id1FzIhAIs/XCqLJEE8X4I/AAAAAAAAb78/TxhgTHffG5w7suq23E80RqgLJIss-xatQCLcBGAs/s1600/George%2BV%2Bby%2BOswald%2BBirley%2B-%2B1928.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="944" data-original-width="747" height="505" src="https://4.bp.blogspot.com/-0Id1FzIhAIs/XCqLJEE8X4I/AAAAAAAAb78/TxhgTHffG5w7suq23E80RqgLJIss-xatQCLcBGAs/s1600/George%2BV%2Bby%2BOswald%2BBirley%2B-%2B1928.jpg" width="400" /></a></div><b>By <u><a href="https://en.wikipedia.org/wiki/Oswald_Birley">Oswald Birley</a></u> - 1928</b><br />Here the King is not dressed in ceremonial attire.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-CmvZmMgyPBE/XCqLPSkkxpI/AAAAAAAAb8E/srzmy2JPbxgHDhQGlpDRpQaL02BuqLnTgCLcBGAs/s1600/George%2BV%2Bby%2BSir%2BArthur%2BStockdale%2BCope%2B-%2B1928.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="964" height="585" src="https://3.bp.blogspot.com/-CmvZmMgyPBE/XCqLPSkkxpI/AAAAAAAAb8E/srzmy2JPbxgHDhQGlpDRpQaL02BuqLnTgCLcBGAs/s1600/George%2BV%2Bby%2BSir%2BArthur%2BStockdale%2BCope%2B-%2B1928.jpg" width="350" /></a></div><b>By <u><a href="https://en.wikipedia.org/wiki/Arthur_Stockdale_Cope">Sir Arthur Stockdale Cope</a></u> - 1928</b><br />A formal royal portrait. His dress naval uniform beneath the robe is nearly the same as the one below, pictured 17 years earlier.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-Vk3R1N2PNlY/XCqLSZBvDWI/AAAAAAAAb8I/SadZUx80f18Pi1ytNehL2BnLD5bk5qpfQCLcBGAs/s1600/George%2BV%2B-%2Bcoronation%2Bportrait%2Bby%2BSir%2BLuke%2BFildes%2B-%2B1911.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="640" height="535" src="https://2.bp.blogspot.com/-Vk3R1N2PNlY/XCqLSZBvDWI/AAAAAAAAb8I/SadZUx80f18Pi1ytNehL2BnLD5bk5qpfQCLcBGAs/s1600/George%2BV%2B-%2Bcoronation%2Bportrait%2Bby%2BSir%2BLuke%2BFildes%2B-%2B1911.jpg" width="400" /></a></div><b>By <u><a href="https://en.wikipedia.org/wiki/Luke_Fildes">Sir Luke Fildes</a></u> - 1911</b><br />This is a portrait of George V in his coronation robes.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-8B3FI2JZZk8/XCqLWox0ysI/AAAAAAAAb8M/9K37Kn9V_yM6DiZ0PIOVOB1F0ToMETjIwCLcBGAs/s1600/George%2BV%2Bby%2BSolomon%2BJ%2BSolomon%2B-%2B1914.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="535" src="https://3.bp.blogspot.com/-8B3FI2JZZk8/XCqLWox0ysI/AAAAAAAAb8M/9K37Kn9V_yM6DiZ0PIOVOB1F0ToMETjIwCLcBGAs/s1600/George%2BV%2Bby%2BSolomon%2BJ%2BSolomon%2B-%2B1914.jpg" width="400" /></a></div><b>By <u><a href="https://en.wikipedia.org/wiki/Solomon_Joseph_Solomon">Solomon J. Solomon</a></u> - 1914</b><br />Solomon is probably best known for his non-portrait work. This panting is more of a sketch than a finished work, and it's not signed. It's the only "casual" portrayal in the set shown here.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-73673093389230021282019-04-04T01:00:00.000-07:002019-04-04T01:00:02.647-07:00Mario Chiattone - Overshadowed by Antonio Sant'EliaMario Chiattone (1891-1957) is not nearly as famous as Antonio Sant'Elia (1888-1916), who I wrote about <b><u><a href="http://artcontrarian.blogspot.com/2013/06/antonio-santelia-visionary-draftsman.html">here</a></u></b>. Both were architectural theoreticians caught up with extending the ideas of <b><u><a href="https://en.wikipedia.org/wiki/Otto_Wagner">Otto Wagner</a></u></b>&nbsp;while embracing the Italian Nuovo Tendenze and&nbsp;<b><u><a href="https://en.wikipedia.org/wiki/Futurism">Futurist</a></u></b> movements (Chiattone less so for the latter than was Sant'Elia).<br /><br />I could find almost nothing about Chiattone on the Internet. A short Italian Wikipedia entry is <b><u><a href="https://it.wikipedia.org/wiki/Mario_Chiattone">here</a></u></b>. A short sketch in Dutch is <b><u><a href="https://www.cultuurarchief.nl/kunstenaars/chiattonemario1891.htm">here</a></u></b>. A longer piece, but with little biographical information is <b><u><a href="https://thecharnelhouse.org/tag/mario-chiattone/">here</a></u></b>, though it has many examples of Chiattone's and Sant'Elia's drawings.<br /><br />The most detailed information I have is from <b><u><a href="https://www.amazon.com/Work-Antonio-SantElia-Retreat-Publications/dp/0300043090/ref=sr_1_3?s=books&amp;ie=UTF8&amp;qid=1545860691&amp;sr=1-3&amp;keywords=antonio+sant%27elia">this book</a></u></b>. On pages 99-100 Esther da Costa Meyer writes:<br /><br />"The only other architect [besides Sant'Elia] in the [Nuove Tendenze] group, Mario Chiattone, is a key figure in the understanding of Sant'Elia. Young, wealthy, and well schooled, Chiattone had a thorough grounding in modern art. His father, Gabrielle Chiattone, himself an artist and connoiseur of contemporary art, became one of the earliest patrons of [the Futurists] Boccioni and Carrà. Sant'Elia and Chiattone met in 1909 at Brera, where both were studying architecture... Between 1913 and 1914 they shared a studio building owned by Chiattone's father...<br /><br />"On the whole it was Chiattone, not Sant'Elia who presented the most dazzling and, with the benefit of hindsight, the most prophetic vision of the modern metropolis... But although the verticalism is more pronounced and the antihistoricism more radical, this cityscape is less complex than Sant'Elia's. There is less emphasis on circulation, and the traffic levels are limited to two. Unlike [Sant'Elia's] Città Nuova, it is situated on the waterfront, although water itself is not exploited for transportation.<br /><br />"Surprisingly enough, while Sant'Elia's projects were extolled for their modernity, Chiatttone was all but ignored by the critics [of the Nuove Tendenze exhibit]... Why Chiattone's contemporaries failed to notice him remains a mystery."<br /><br />I do not know if Chiattone served in the Great War (Sant'Elia was a junior officer and killed in action). But by the early 1920s he had moved to Ticino, the Italian-speaking Swiss canton where it seems he spent the rest of his life.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-sLi9zFkHAPM/XCPtyCfCyxI/AAAAAAAAb3U/Cn5Oc-Rds_UhNkqmudn7BGGKEgXfBNEvACLcBGAs/s1600/Air-train%2Bstation%2B-%2B1914.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1256" data-original-width="1000" height="505" src="https://2.bp.blogspot.com/-sLi9zFkHAPM/XCPtyCfCyxI/AAAAAAAAb3U/Cn5Oc-Rds_UhNkqmudn7BGGKEgXfBNEvACLcBGAs/s1600/Air-train%2Bstation%2B-%2B1914.jpg" width="400" /></a></div>Sant'Elia - combined train and aircraft terminal, 1914.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-WU3wVoC65sc/XCPt1-4YnVI/AAAAAAAAb3Y/SEwzo0Zylb0xXJlbu1OrwSovPQ7bUUhogCLcBGAs/s1600/La%2BCitta%2BNuova%252C%2Bparticulare%2B-%2B1914%2B-%2Blarger.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="450" src="https://4.bp.blogspot.com/-WU3wVoC65sc/XCPt1-4YnVI/AAAAAAAAb3Y/SEwzo0Zylb0xXJlbu1OrwSovPQ7bUUhogCLcBGAs/s1600/La%2BCitta%2BNuova%252C%2Bparticulare%2B-%2B1914%2B-%2Blarger.jpg" width="450" /></a></div>Sant'Elia - Città Nuova scene.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-GrFUYU70OI0/XCPt7ttNIRI/AAAAAAAAb3c/TxUIYx68mTYaJ4F26G7IPLCrMSMC6OUtQCLcBGAs/s1600/study%2Bterraced%2Bfloors.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="449" data-original-width="600" height="375" src="https://2.bp.blogspot.com/-GrFUYU70OI0/XCPt7ttNIRI/AAAAAAAAb3c/TxUIYx68mTYaJ4F26G7IPLCrMSMC6OUtQCLcBGAs/s1600/study%2Bterraced%2Bfloors.jpg" width="500" /></a></div>Sant'Elia study.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-DJpYc4Rekxk/XCPuD7DxwPI/AAAAAAAAb3k/udjcaUavdEcpPPB0bxVQfymKoMJoQzwBgCLcBGAs/s1600/Buildings%2Bfor%2Ba%2BModern%2BMetropolis%2B-%2B1914.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="679" data-original-width="614" height="500" src="https://1.bp.blogspot.com/-DJpYc4Rekxk/XCPuD7DxwPI/AAAAAAAAb3k/udjcaUavdEcpPPB0bxVQfymKoMJoQzwBgCLcBGAs/s1600/Buildings%2Bfor%2Ba%2BModern%2BMetropolis%2B-%2B1914.png" width="450" /></a></div>Chiattone - Buildings for a Modern Metropolis, 1914.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-vIQC4yyE4tU/XCPuHE68pNI/AAAAAAAAb3s/98IeLXZJE2YYxnSiU8nSfWCjW5yiFm1PgCLcBGAs/s1600/City%2Bwith%2Braised%2Brailways%2B-%2B1914.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="682" data-original-width="489" height="560" src="https://2.bp.blogspot.com/-vIQC4yyE4tU/XCPuHE68pNI/AAAAAAAAb3s/98IeLXZJE2YYxnSiU8nSfWCjW5yiFm1PgCLcBGAs/s1600/City%2Bwith%2Braised%2Brailways%2B-%2B1914.png" width="400" /></a></div>Chiattone - City with raised railways, 1914.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-4TuESE7p2EU/XCPuJTCtInI/AAAAAAAAb3w/S9v5AhEjSJ0m6qyyHOSiZEWspF4Qrua4ACLcBGAs/s1600/Industrial%2Bbuilding%2B-%2B1914.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1330" data-original-width="900" height="595" src="https://2.bp.blogspot.com/-4TuESE7p2EU/XCPuJTCtInI/AAAAAAAAb3w/S9v5AhEjSJ0m6qyyHOSiZEWspF4Qrua4ACLcBGAs/s1600/Industrial%2Bbuilding%2B-%2B1914.jpg" width="400" /></a></div>Chiattone- Industrial building - 1914.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-_KgNwo-kGlg/XCPuN9MgMyI/AAAAAAAAb34/XW2r2Qp4lOsGAc0ALkwhy-XR0aFpUA8dgCLcBGAs/s1600/Apartment%2Bhouse%2Bwith%2Bcantalevered%2Bbalconies.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="416" data-original-width="500" height="415" src="https://2.bp.blogspot.com/-_KgNwo-kGlg/XCPuN9MgMyI/AAAAAAAAb34/XW2r2Qp4lOsGAc0ALkwhy-XR0aFpUA8dgCLcBGAs/s1600/Apartment%2Bhouse%2Bwith%2Bcantalevered%2Bbalconies.jpg" width="500" /></a></div>Chiattone - Apartment building with balconies.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-OG03ZguvJYU/XCPuPaFUNPI/AAAAAAAAb38/jqVzwI0X0pA2iB1q_rsDlz_yZL4NhzCxwCLcBGAs/s1600/Cathedrtal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1082" data-original-width="700" height="540" src="https://2.bp.blogspot.com/-OG03ZguvJYU/XCPuPaFUNPI/AAAAAAAAb38/jqVzwI0X0pA2iB1q_rsDlz_yZL4NhzCxwCLcBGAs/s1600/Cathedrtal.jpg" width="350" /></a></div>Chiattone - Cathedral.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-22321332279659656192019-04-01T01:00:00.000-07:002019-04-01T01:00:06.395-07:00Vasily Yakovlev Echoes Ilya RepinWhen I was in Málaga, Spain in November I visited a branch of St. Petersburg's excellent&nbsp;<b><u><a href="http://en.rusmuseum.ru/about/malaga/">Russian Museum</a></u></b>. It was holding a year-long (ending February 2019) exhibit titled "The Radiant Future: Socialist Realism in Art." A fine exhibit. Plenty of examples, some of which I even knew about before I visited. Of course I took lots of snapshots.<br /><br />One of the featured, huge paintings on display was "Prospectors Writing a Letter to the Creator of the Great Constitution" completed 1937. The "Creator" of that marvelous, idealistic and fraudulent constitution was Josef Stalin, of course.<br /><br />Its painter was Vasily Nikolayevich Yakovlev (1893-1953), background <b><u><a href="https://soviet-art.ru/soviet-artist-vasily-nikolayevich-yakovlev-1893-1953/">here</a></u></b>, not to be confused with the Vasily Yakovlev (biography <b><u><a href="https://en.wikipedia.org/wiki/Vasily_Yakovlev">here</a></u></b>) who was liquidated by Comrade Stalin in a 1938 purge.<br /><br />What I find interesting is that Yakovlev, consciously or otherwise, borrowed the theme of the famous painting "Reply of the Zaporozhian Cossacks to Sultan Mehmed IV of the Ottoman Empire" (Wikipedia entry <b><u><a href="https://en.wikipedia.org/wiki/Reply_of_the_Zaporozhian_Cossacks">here</a></u></b>) by <b><u><a href="https://en.wikipedia.org/wiki/Ilya_Repin">Ilya Repin</a></u></b> (1844-1930), painted over the years 1880-1891.<br /><br />The letter Repin dealt with was negative in tone and that of Yakovlev was positive, which explains difference in body languages of the subjects.<br /><br />Images are below. Click on them to enlarge.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-rJYwf3t8dWU/XBqVSAeJgPI/AAAAAAAAbxs/V1QgJNs999U08v7nSr4sohw8FzKIzpjiQCLcBGAs/s1600/The%2B%2BZaporozhian%2BCossacks%2Bwrite%2Ba%2Bletter%2Bto%2Bthe%2BSultan%2Bof%2BTurkey.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="561" data-original-width="950" height="295" src="https://2.bp.blogspot.com/-rJYwf3t8dWU/XBqVSAeJgPI/AAAAAAAAbxs/V1QgJNs999U08v7nSr4sohw8FzKIzpjiQCLcBGAs/s1600/The%2B%2BZaporozhian%2BCossacks%2Bwrite%2Ba%2Bletter%2Bto%2Bthe%2BSultan%2Bof%2BTurkey.jpg" width="500" /></a></div><b>Reply of the Zaporozhian Cossacks to Sultan Mehmed IV of the Ottoman Empire - 1880-1891 - Ilya Repin</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-hxXQprtCVBs/XBqVE7Ko-6I/AAAAAAAAbxk/qdSvgVnbgtwCPCJaRF8fLCsgDExkrBQ6QCLcBGAs/s1600/Yakovlev%252C%2BVasily%2B-%2BProspectors%2BWriting%2Ba%2BLetter%2Bto%2Bthe%2BCreator%2Bof%2Bthe%2BGreat%2BConstitution%2B-%2B1937%2B-%2B1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://2.bp.blogspot.com/-hxXQprtCVBs/XBqVE7Ko-6I/AAAAAAAAbxk/qdSvgVnbgtwCPCJaRF8fLCsgDExkrBQ6QCLcBGAs/s1600/Yakovlev%252C%2BVasily%2B-%2BProspectors%2BWriting%2Ba%2BLetter%2Bto%2Bthe%2BCreator%2Bof%2Bthe%2BGreat%2BConstitution%2B-%2B1937%2B-%2B1.JPG" width="500" /></a></div><b>Prospectors Writing a Letter to the Creator of the Great Constitution - 1937 - Vasily Yakovlev</b><br />One measure of how large this painting is can be seen with reference how close to the floor it had to be hung.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-j3i-YasNtXc/XBqVG_rpVWI/AAAAAAAAbxo/rgMYRraA7x4WhAbEV0SMzHPQ7wvju7sDQCLcBGAs/s1600/Yakovlev%252C%2BVasily%2B-%2BProspectors%2BWriting%2Ba%2BLetter%2Bto%2Bthe%2BCreator%2Bof%2Bthe%2BGreat%2BConstitution%2B-%2B1937%2B-%2B2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://2.bp.blogspot.com/-j3i-YasNtXc/XBqVG_rpVWI/AAAAAAAAbxo/rgMYRraA7x4WhAbEV0SMzHPQ7wvju7sDQCLcBGAs/s1600/Yakovlev%252C%2BVasily%2B-%2BProspectors%2BWriting%2Ba%2BLetter%2Bto%2Bthe%2BCreator%2Bof%2Bthe%2BGreat%2BConstitution%2B-%2B1937%2B-%2B2.JPG" width="500" /></a></div>Detail of the central part of the composition.&nbsp; Yakovlev used a hard-edge style.&nbsp; His depiction of clothing reminds me of some of Salvador Dalí's work.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-82595517150460826412019-03-28T01:00:00.000-07:002019-03-28T01:00:00.576-07:00Perspective in Pompeii PaintingsOur cruise ship docked at Naples and, I suspect, most of the passengers going ashore had signed up for tours of Pompeii and other sites on the far side of the Bay of Naples.<br /><br />Not me. Been there done that a couple of times. But I'd previously spent only two or so hours in Naples and really wanted to visit the <i>Museo Archeologico Nazionale di Napoli</i> (<b><u><a href="https://en.wikipedia.org/wiki/National_Archaeological_Museum,_Naples">National Archaeological Museum, Naples</a></u></b>). That's because it has a collection of the better-preserved wall paintings from places covered by Vesuvius' ash. (What's left on-site is mostly low-quality in terms of preservation.)<br /><br />In this post I deal with how Roman artists dealt with situations calling for one-point perspective. That is, where buildings or parts of them are portrayed.<br /><br />Geometrically-derived linear perspective wasn't discovered until about the time of the Renaissance, though some Classical artists were aware of its general effect and attempted to include that in their work. Sadly, aside from the buried art in and around Pompeii, little has survived due to its perishable condition (as compared to robust sculptural art).<br /><br /><b><u><a href="https://foundinantiquity.com/2013/08/09/pompeiian-fresco-painters-used-perspective-better-than-renaissance-artists/">Here</a></u></b> is an interesting article dealing with Pompeiian perspective. Precise single vanishing points are not found, though clusters of convergences in small areas are. The article makes the further claim that in the real world we don't really observe one-point perspective aside from limited circumstances, this due to eyeball movement as we view things.<br /><br />Here are some snapshots I took of items in the museum depicting structures. Click on images to enlarge.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-PxY0J0_io3U/XBK0BQmyoeI/AAAAAAAAbtE/Poxzq4jS-KYAltp8IvgjsyTNnmE7zHMUQCLcBGAs/s1600/Perspective%2B1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="375" src="https://3.bp.blogspot.com/-PxY0J0_io3U/XBK0BQmyoeI/AAAAAAAAbtE/Poxzq4jS-KYAltp8IvgjsyTNnmE7zHMUQCLcBGAs/s1600/Perspective%2B1.JPG" width="500" /></a></div>The face at the top is of a mask.&nbsp; Assuming a high viewing point, the receding lines of the tall yellow building roughly approximate linear perspective. Other structural objects do not.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-9fA1ND6dDTU/XBK0Ig5tgTI/AAAAAAAAbtI/3osjW4dsEoU5w_4JeYRZbS1oXv6R1XDbQCLcBGAs/s1600/Perspective%2B2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://2.bp.blogspot.com/-9fA1ND6dDTU/XBK0Ig5tgTI/AAAAAAAAbtI/3osjW4dsEoU5w_4JeYRZbS1oXv6R1XDbQCLcBGAs/s1600/Perspective%2B2.JPG" width="500" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-3iklHpUxpDA/XBK0RgGTEcI/AAAAAAAAbtQ/t0z7PXSyX0AbVsLakT9pPiqBcSjurzAOgCLcBGAs/s1600/Perspective%2B3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://4.bp.blogspot.com/-3iklHpUxpDA/XBK0RgGTEcI/AAAAAAAAbtQ/t0z7PXSyX0AbVsLakT9pPiqBcSjurzAOgCLcBGAs/s1600/Perspective%2B3.JPG" width="500" /></a></div>Two related paintings. Linear perspective is essentially absent here.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-1DfUJnRdVu0/XBK0f4RrcSI/AAAAAAAAbtY/yF53wFHB87MDlPFhFwR0IOObLFx_mL3rwCLcBGAs/s1600/Perspective%2B5.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://4.bp.blogspot.com/-1DfUJnRdVu0/XBK0f4RrcSI/AAAAAAAAbtY/yF53wFHB87MDlPFhFwR0IOObLFx_mL3rwCLcBGAs/s1600/Perspective%2B5.JPG" width="500" /></a></div>Perspective here seems mostly isometric.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-PIC2z3sGS7w/XBK01XF_R0I/AAAAAAAAbtk/ssPF2nf-eNciwe4VXNmPcyu9Jwb5HLowQCLcBGAs/s1600/Perspective%2B7.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://1.bp.blogspot.com/-PIC2z3sGS7w/XBK01XF_R0I/AAAAAAAAbtk/ssPF2nf-eNciwe4VXNmPcyu9Jwb5HLowQCLcBGAs/s1600/Perspective%2B7.JPG" width="500" /></a></div>Only the buildings at the left have a sense of perspective.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-knLHeYnMi4s/XBK0-cmcchI/AAAAAAAAbto/KXvpr2aNFBIJgm8GMF4vso4FcDmYX5rRACLcBGAs/s1600/Perspective%2B8.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://3.bp.blogspot.com/-knLHeYnMi4s/XBK0-cmcchI/AAAAAAAAbto/KXvpr2aNFBIJgm8GMF4vso4FcDmYX5rRACLcBGAs/s1600/Perspective%2B8.JPG" width="500" /></a></div>The central (framed) structure with multiple columns relates to the upper part of the projecting structure to the left, which otherwise is isometric. The tiled roof is completely at odds with perspective.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-iLtL3FgHbYk/XBK1AvtNVEI/AAAAAAAAbts/j7JsQSf-BmIK-LBiiP-bu_FkzoBlVRrcACLcBGAs/s1600/Perspective%2B6.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://4.bp.blogspot.com/-iLtL3FgHbYk/XBK1AvtNVEI/AAAAAAAAbts/j7JsQSf-BmIK-LBiiP-bu_FkzoBlVRrcACLcBGAs/s1600/Perspective%2B6.JPG" width="500" /></a></div>The main structures depicted here exhibit a cluster of vanishing points not far from where Renaissance painters would place a single point. Only the structure with columns at the left deviates seriously.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-1483563095034553852019-03-25T01:00:00.000-07:002019-03-25T01:00:01.055-07:00Aleksandr Bubnov's Historical PantingsAleksandr Pavlovich Bubnov (1908–1964) was, in my judgment, one of the most skilled of Soviet-era painters. And that's saying a lot, because while Western art had degenerated into Modernism where skill was largely irrelevant, Russian artists were "encouraged" by the State to retain circa-1890 standards. There is little about Bubnov in English on the Internet, though some information can be found <b><u><a href="https://artinvestment.ru/en/auctions/13980/biography.html%3Cb%3E%3Cu%3E%3Ca%20href=">here</a></u></b> and <b><u><a href="https://www.nytimes.com/1964/07/03/archives/aleksandr-bubnov-stalin-portraitist.html">here</a></u></b>.<br /><br />Although he painted obligatory paintings featuring Joseph Stalin, Bubnov's true interest seems to have been the semi-mythic Russian past. The Great Patriotic War (the Soviet label for World War 2) interrupted the Socialist Realism of the 1930s that featured idealized views of life under Communism. In its place, again encouraged by the State, Soviet artists often created paintings harking to historical triumphs of Russian arms. Bubnov's great example of this is shown below along with some of his other works.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-bKDQkJsmvA4/XH7GuCvh4ZI/AAAAAAAAcok/-h7_tQqVeGkDPma428hUKL5SAoSysOWUACLcBGAs/s1600/At%2Bthe%2BCongress%2Bof%2BCollective%2BFarmers%2B-%2Bc.1938.Jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="381" data-original-width="570" height="335" src="https://1.bp.blogspot.com/-bKDQkJsmvA4/XH7GuCvh4ZI/AAAAAAAAcok/-h7_tQqVeGkDPma428hUKL5SAoSysOWUACLcBGAs/s1600/At%2Bthe%2BCongress%2Bof%2BCollective%2BFarmers%2B-%2Bc.1938.Jpeg" width="500" /></a></div><b>At the Congress of Collective Farmers</b><br />Probably painted in the late 1930s, this is typical of much Soviet art from those times.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-v_rJ_WJUNj0/XH7G1MZrQuI/AAAAAAAAcoo/nxkQazeIVgsAnM_tPaFr5Ni8rbFYTRf3gCLcBGAs/s1600/Young%2BOleg%2Bon%2BCampaign.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="814" data-original-width="600" height="545" src="https://1.bp.blogspot.com/-v_rJ_WJUNj0/XH7G1MZrQuI/AAAAAAAAcoo/nxkQazeIVgsAnM_tPaFr5Ni8rbFYTRf3gCLcBGAs/s1600/Young%2BOleg%2Bon%2BCampaign.jpg" width="400" /></a></div><b>Young Oleg on Campaign</b><br />One of a series of paintings featuring Oleg, who I'm guessing was not a historical figure.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-Z26D_sWHs7M/XH7G3EZMdTI/AAAAAAAAcow/ct5YtRyRHA4x3LzpOrK_2IYN3PNaMEZ9gCLcBGAs/s1600/Boris%2BGodunov.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1256" data-original-width="900" height="560" src="https://4.bp.blogspot.com/-Z26D_sWHs7M/XH7G3EZMdTI/AAAAAAAAcow/ct5YtRyRHA4x3LzpOrK_2IYN3PNaMEZ9gCLcBGAs/s1600/Boris%2BGodunov.jpg" width="400" /></a></div><b>Boris Godunov</b><br />A successor to Ivan the Terrible who became the subject of a play by Pushkin and an opera by Mussorgsky.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-FGD92dkYeCo/XH7G5-s2duI/AAAAAAAAco0/TcVph-Dp5kYEM02cHtOpS1XctBTtUKsNwCLcBGAs/s1600/Fairy-tale%2B-%2B1946.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="569" data-original-width="650" height="435" src="https://3.bp.blogspot.com/-FGD92dkYeCo/XH7G5-s2duI/AAAAAAAAco0/TcVph-Dp5kYEM02cHtOpS1XctBTtUKsNwCLcBGAs/s1600/Fairy-tale%2B-%2B1946.jpg" width="500" /></a></div><b>Tale illustration - 1946</b><br />This painting and the two previous ones feature strong, wide brushwork.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-gu26SKNQRJs/XH7G7ySWClI/AAAAAAAAco4/lOfuve91JDQBm5Q2pcxrEm_zFbiINYyJACLcBGAs/s1600/Taras%2BBulba.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="461" data-original-width="736" height="310" src="https://2.bp.blogspot.com/-gu26SKNQRJs/XH7G7ySWClI/AAAAAAAAco4/lOfuve91JDQBm5Q2pcxrEm_zFbiINYyJACLcBGAs/s1600/Taras%2BBulba.jpg" width="500" /></a></div><b>Taras Bulba</b><br />A character in a Gogol novel set in an earlier century.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-qa0lw-rfYqI/XH7HF0rwlpI/AAAAAAAAcpA/TcPIOUlOmN0Aalre7LWcRQsOUZz2pWebACLcBGAs/s1600/Morning%2Bon%2Bthe%2BKulikovskoye%2BField%2B-%2B1943-47.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="846" data-original-width="1600" height="290" src="https://4.bp.blogspot.com/-qa0lw-rfYqI/XH7HF0rwlpI/AAAAAAAAcpA/TcPIOUlOmN0Aalre7LWcRQsOUZz2pWebACLcBGAs/s1600/Morning%2Bon%2Bthe%2BKulikovskoye%2BField%2B-%2B1943-47.jpeg" width="550" /></a></div><b>Morning on the Kulikovskoye Field - 1943-1947</b><br />Bubnov's greatest work, in my opinion. It deals with the <b><u><a href="https://en.wikipedia.org/wiki/Battle_of_Kulikovo">Battle of Kulikovo</a></u></b> 8 September 1380 where early Russians defeated the Tatars who ruled large parts of the country. Started during the war and completed two years after, this painting won the Stalin Prize for painting in 1948. Click on it to enlarge and get a better view of how Bubnov composed the figures and handled the atmospherics.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-aMneguSjVaw/XH7HHT0DuNI/AAAAAAAAcpE/Br9TKfiU3dcziZSs0HSZh5VkJNGQwXEIQCLcBGAs/s1600/Bread%2B%2B%2528Grain%2529%2B-%2B1948.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="600" height="220" src="https://2.bp.blogspot.com/-aMneguSjVaw/XH7HHT0DuNI/AAAAAAAAcpE/Br9TKfiU3dcziZSs0HSZh5VkJNGQwXEIQCLcBGAs/s1600/Bread%2B%2B%2528Grain%2529%2B-%2B1948.jpg" width="500" /></a></div><b>Grain - 1948</b><br />A postwar scene.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-PrXAGlM5kBk/XH7Glso2CmI/AAAAAAAAcog/vZEYqtDM0yQ8y62_PSjqLX5PmQ6l9kX9gCLcBGAs/s1600/Bubnov%252C%2BAleksander%2B-%2BIn%2Bthe%2BField%2B-%2B1958-60%2Bdetail.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://3.bp.blogspot.com/-PrXAGlM5kBk/XH7Glso2CmI/AAAAAAAAcog/vZEYqtDM0yQ8y62_PSjqLX5PmQ6l9kX9gCLcBGAs/s1600/Bubnov%252C%2BAleksander%2B-%2BIn%2Bthe%2BField%2B-%2B1958-60%2Bdetail.JPG" width="500" /></a></div><b>In the Field - 1958-1960 (detail)</b><br />My photo of part of a painting showing farm workers. Click to enlarge and view Bubnov's brushwork.<br /></center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-58774005072167414892019-03-21T01:00:00.000-07:002019-03-21T01:00:11.382-07:00Fashions and Automobiles by Leslie SaalburgLeslie Saalburg (1897-1974) was highly successful for most of his long illustration career. This despite the fact that his style changed little -- often the cause of a career foundering when illustration style fashions changed. Some of this had to do with timing. His use of India Ink pen outlining and watercolor or perhaps colored ink washes to fill areas was in line with 1920s fashion illustration styles and also the general illustration shift from heavy oil paints to washes during the 1930s. By the 1950s Saalburg thickened his washes for some of his work as a slight concession to later style trends, but the results remained easily identifiable as his work.<br /><br />Although many Saalburg illustrations can be found on the Internet, biographical information is sparse. One site with a good deal of information regarding his work and working practices is <b><u><a href="https://www.gentlemansgazette.com/leslie-saalburg-fashion-illustrator-extraordinaire/">here</a></u></b>, though it has little about his personal life. For what it's worth, I can add that, although he was American, he was born in London and died in Paris -- fitting places given the scenes he usually portrayed.<br /><br />An illustrator a decade older than Saalburg who had a similar career with regard to style and subject matter was Lawrence Fellows (1885-1964) who I wrote about <b><u><a href="http://artcontrarian.blogspot.com/2014/07/l-fellows-car-tires-and-mens-fashion.html">here</a></u></b>.<br /><br />Below are some examples of Saalburg's work.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-M2kKr9GxWNM/XBFYuHslJ7I/AAAAAAAAbsA/uvxIrA59jCsfyDxU-o_XIG0d1ss1xnhrwCLcBGAs/s1600/Women%2527s%2Bfashions%2B-%2BVogue%2BMr.1929.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="643" data-original-width="501" height="515" src="https://1.bp.blogspot.com/-M2kKr9GxWNM/XBFYuHslJ7I/AAAAAAAAbsA/uvxIrA59jCsfyDxU-o_XIG0d1ss1xnhrwCLcBGAs/s1600/Women%2527s%2Bfashions%2B-%2BVogue%2BMr.1929.png" width="400" /></a></div>Women's fashion illustration from 1929.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-GkpB4JvAUnc/XBFYx-aW33I/AAAAAAAAbsE/CFOYa8zctscZ5b6NqndJd7pn5BzSe1ZzwCLcBGAs/s1600/Men%2527s%2Bfashion%2Billustration%2B1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="522" data-original-width="500" height="420" src="https://3.bp.blogspot.com/-GkpB4JvAUnc/XBFYx-aW33I/AAAAAAAAbsE/CFOYa8zctscZ5b6NqndJd7pn5BzSe1ZzwCLcBGAs/s1600/Men%2527s%2Bfashion%2Billustration%2B1.png" width="400" /></a></div>Men's fashion illustration.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-zTXyp1bo7YQ/XBFY0RRaX1I/AAAAAAAAbsI/X_ey3kNEj94iCWonCfiFEI0ZGrfCGVsigCLcBGAs/s1600/Men%2527s%2Bfashion%2Billustration%2B2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="474" data-original-width="720" height="330" src="https://2.bp.blogspot.com/-zTXyp1bo7YQ/XBFY0RRaX1I/AAAAAAAAbsI/X_ey3kNEj94iCWonCfiFEI0ZGrfCGVsigCLcBGAs/s1600/Men%2527s%2Bfashion%2Billustration%2B2.jpg" width="500" /></a></div>British country clothes.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-_eon7HXMVs0/XBFY3fORtiI/AAAAAAAAbsM/5pt6bd4Q5LsdgZokGP3MWR386_p7ZpCLACLcBGAs/s1600/Men%2527s%2Bfashion%2Billustration%2Bfor%2BNettleton%2Bshoes.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="494" data-original-width="500" height="450" src="https://4.bp.blogspot.com/-_eon7HXMVs0/XBFY3fORtiI/AAAAAAAAbsM/5pt6bd4Q5LsdgZokGP3MWR386_p7ZpCLACLcBGAs/s1600/Men%2527s%2Bfashion%2Billustration%2Bfor%2BNettleton%2Bshoes.png" width="450" /></a></div>Illustration for Nettleton shoes advertisement.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-DHClTBEbY98/XBFY75IJVzI/AAAAAAAAbsQ/ldyw1uwzGT8szcbHbehPV9-salby7zLmQCLcBGAs/s1600/Esquire%2B1947.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="969" data-original-width="700" height="555" src="https://2.bp.blogspot.com/-DHClTBEbY98/XBFY75IJVzI/AAAAAAAAbsQ/ldyw1uwzGT8szcbHbehPV9-salby7zLmQCLcBGAs/s1600/Esquire%2B1947.jpg" width="400" /></a></div>Page from Esquire magazine.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-vrWdkX_TEkk/XBFY-c380MI/AAAAAAAAbsU/Fa8tn-YKSrsVVulMWmEoNLsVNQ1YOfcPgCLcBGAs/s1600/French%2BLine%2Bad%2B-%2B1933.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1314" data-original-width="1000" height="525" src="https://1.bp.blogspot.com/-vrWdkX_TEkk/XBFY-c380MI/AAAAAAAAbsU/Fa8tn-YKSrsVVulMWmEoNLsVNQ1YOfcPgCLcBGAs/s1600/French%2BLine%2Bad%2B-%2B1933.jpg" width="400" /></a></div>French Line advertisement from 1933.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-pMSYs2N5AfA/XBFZBBWCkHI/AAAAAAAAbsY/l7lF7b_vgpYuCLTjqhW6UpIJIOnTLTNfQCLcBGAs/s1600/1933%2BPackard%2BDual-Cowl%2BPhaeton.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="717" data-original-width="1000" height="360" src="https://1.bp.blogspot.com/-pMSYs2N5AfA/XBFZBBWCkHI/AAAAAAAAbsY/l7lF7b_vgpYuCLTjqhW6UpIJIOnTLTNfQCLcBGAs/s1600/1933%2BPackard%2BDual-Cowl%2BPhaeton.jpg" width="500" /></a></div>Saalburg also made many illustrations for series dealing with classic automobiles. Shown here is a 1933 Packard Dual-Cowl Phaeton.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-9LrAFQbNZJM/XBFZDF_19dI/AAAAAAAAbsg/Of6tPCJcHOs15zHdtole4v2YGJtXp6LmQCLcBGAs/s1600/1933%2BPierce%2BSilver%2BArrow.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="729" data-original-width="1000" height="365" src="https://2.bp.blogspot.com/-9LrAFQbNZJM/XBFZDF_19dI/AAAAAAAAbsg/Of6tPCJcHOs15zHdtole4v2YGJtXp6LmQCLcBGAs/s1600/1933%2BPierce%2BSilver%2BArrow.jpg" width="500" /></a></div>1933 Pierce-Arrow Silver Arrow, Brooklyn Bridge in the background.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-Dm_EaghxyQ4/XBFZE_XIfnI/AAAAAAAAbsk/1qOSc7m1bBI4A1MuMd7cBEkRuUroQMABgCLcBGAs/s1600/1937%2BCord%2BConvertible%2BCoupe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1000" height="360" src="https://2.bp.blogspot.com/-Dm_EaghxyQ4/XBFZE_XIfnI/AAAAAAAAbsk/1qOSc7m1bBI4A1MuMd7cBEkRuUroQMABgCLcBGAs/s1600/1937%2BCord%2BConvertible%2BCoupe.jpg" width="500" /></a></div>1937 Cord 812 Convertible Coupe.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-fDJfkN0mNBM/XBFZHH6yQ5I/AAAAAAAAbso/-4CKONaX1sUKpAXgBMcUWa7bQ5e7As3mgCLcBGAs/s1600/1954%2BBuick%2BSkylark%2Bat%2BWest%2BPoint.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="457" data-original-width="750" height="305" src="https://4.bp.blogspot.com/-fDJfkN0mNBM/XBFZHH6yQ5I/AAAAAAAAbso/-4CKONaX1sUKpAXgBMcUWa7bQ5e7As3mgCLcBGAs/s1600/1954%2BBuick%2BSkylark%2Bat%2BWest%2BPoint.jpg" width="500" /></a></div>1954 Buick Skylark pictured at West Point.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-19654666694190010382019-03-18T01:00:00.000-07:002019-03-18T01:00:08.519-07:00Gordon Grant, Illustrator and Marine PainterGordon Hope Grant (1875-1962) began his career as an illustrator but gradually shifted to producing marine paintings and lithographs. A short Wikipedia entry is <b><u><a href="https://en.wikipedia.org/wiki/Gordon_Grant_(artist)">here</a></u></b>. It does not mention that Grant, born in San Francisco, was sent to Scotland for schooling. That involved months at sea on a sailing vessel rounding the Horn. He studied art in London before returning to America, where he then lived in New York City.<br /><br />Many of his works seem to be undated, and for this post, I make little attempt to guess when they were made. However, I did my best to arrange them in approximate chronological order.<br /><br />From images found on the Internet, Grant's marine art was much better than his early illustrations, though he had the skills to have made better illustrations. Perhaps expectations of art directors in the early 1900s was a factor. His 1930s Saturday Evening Post covers (not shown here) were done fairly well.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-rtOfi8Z4wRs/XC-pQRBXXXI/AAAAAAAAcBs/qv60mOuC3bA6yPmprfamL8ESCqlzrFIQgCLcBGAs/s1600/Puck%2Bcover%2B-%2B1909.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="372" height="500" src="https://1.bp.blogspot.com/-rtOfi8Z4wRs/XC-pQRBXXXI/AAAAAAAAcBs/qv60mOuC3bA6yPmprfamL8ESCqlzrFIQgCLcBGAs/s1600/Puck%2Bcover%2B-%2B1909.jpg" width="370" /></a></div><b>Puck cover - 1909</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-znT8cQ3oxdE/XC-pS4XFnTI/AAAAAAAAcBw/xYerzzzW0BcdiHvOTqcz_6UK_TFi-UGgACLcBGAs/s1600/Puck%2Bcover%2B-%2BFeb.1912.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="461" height="550" src="https://3.bp.blogspot.com/-znT8cQ3oxdE/XC-pS4XFnTI/AAAAAAAAcBw/xYerzzzW0BcdiHvOTqcz_6UK_TFi-UGgACLcBGAs/s1600/Puck%2Bcover%2B-%2BFeb.1912.png" width="400" /></a></div><b>Puck Cover - February 1912</b><br />Many early illustrations featured pretty women.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-QjRQAR_lYpc/XC-pXiviG4I/AAAAAAAAcB0/DmEeeK149NI7AjcDsbSXRe-KtbWyQ8L3ACLcBGAs/s1600/Post-WW1%2Brecruiting%2Bposter.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="441" data-original-width="347" height="510" src="https://1.bp.blogspot.com/-QjRQAR_lYpc/XC-pXiviG4I/AAAAAAAAcB0/DmEeeK149NI7AjcDsbSXRe-KtbWyQ8L3ACLcBGAs/s320/Post-WW1%2Brecruiting%2Bposter.png" width="400" /></a></div><b>Army recruiting poster - c. 1919</b><br />Pretty static. I would have been inclined to give the background Rhine castle more emphasis to appeal to a sense of adventure with more to it than holding a rile.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-RC3IOMxbCow/XC-pfQbk9kI/AAAAAAAAcB4/hSTY4CJcnskO_afzl6-tpkg8augjrIvXACLcBGAs/s1600/Arching%2BElms%2B-%2Blithograph.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="522" data-original-width="640" height="410" src="https://4.bp.blogspot.com/-RC3IOMxbCow/XC-pfQbk9kI/AAAAAAAAcB4/hSTY4CJcnskO_afzl6-tpkg8augjrIvXACLcBGAs/s1600/Arching%2BElms%2B-%2Blithograph.jpg" width="500" /></a></div><b>Arching Elms - lithograph</b><br />Nice use of shade.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-nnwI0bhAAwE/XC-pjSaC-9I/AAAAAAAAcCE/7UcitIg7Pw8ZScvoaj5dEZBpNPKerE-CwCLcBGAs/s1600/Old%2BWindjammer%2B-%2Blithograph.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="550" height="410" src="https://4.bp.blogspot.com/-nnwI0bhAAwE/XC-pjSaC-9I/AAAAAAAAcCE/7UcitIg7Pw8ZScvoaj5dEZBpNPKerE-CwCLcBGAs/s1600/Old%2BWindjammer%2B-%2Blithograph.jpg" width="500" /></a></div><b>Old Windjammer - lithograph</b><br />Strong composition.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-0kV7ISfWEU8/XC-qlv0-luI/AAAAAAAAcCU/HrNLBlBds5YLGzQ0dcKEAsOlIEbiG4ozgCLcBGAs/s1600/photo%2B-%2BGrant%2Bworking%2Bon%2BUSS%2BConstitution%2Boil%2Bpainting%2B-%2B1926.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="862" height="475" src="https://1.bp.blogspot.com/-0kV7ISfWEU8/XC-qlv0-luI/AAAAAAAAcCU/HrNLBlBds5YLGzQ0dcKEAsOlIEbiG4ozgCLcBGAs/s1600/photo%2B-%2BGrant%2Bworking%2Bon%2BUSS%2BConstitution%2Boil%2Bpainting%2B-%2B1926.jpg" width="400" /></a></div><b>Photo of Grant working on painting of USS Constitution (Old Ironsides) for the White House - 1926</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-bsm0bwCPBVI/XC-qnfz_ZRI/AAAAAAAAcCY/fNHRHsLXEvUOAV0wnO1EnYMAORUTVdfwQCLcBGAs/s1600/USS%2BConstitution%2B-%2Bwatercolor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="814" data-original-width="1024" height="395" src="https://1.bp.blogspot.com/-bsm0bwCPBVI/XC-qnfz_ZRI/AAAAAAAAcCY/fNHRHsLXEvUOAV0wnO1EnYMAORUTVdfwQCLcBGAs/s1600/USS%2BConstitution%2B-%2Bwatercolor.jpg" width="500" /></a></div><b>Watercolor paintings similar to White House USS Constitution painting</b><br />I could find no image of the oil version.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-I8wV9tIwVrU/XC-qtRKcAtI/AAAAAAAAcCc/4lTtgfgZvLUaEXSjZEipcx_AINahd-FEwCLcBGAs/s1600/pulling%2Bin%2Bfish%2Bnet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="661" data-original-width="800" height="410" src="https://2.bp.blogspot.com/-I8wV9tIwVrU/XC-qtRKcAtI/AAAAAAAAcCc/4lTtgfgZvLUaEXSjZEipcx_AINahd-FEwCLcBGAs/s1600/pulling%2Bin%2Bfish%2Bnet.jpg" width="500" /></a></div><b>Pulling in the Fish Net</b><br />Nice atmospherics here.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-Goi4hXDhjd4/XC-qwAxea7I/AAAAAAAAcCg/Q2n_hCjQiagUq15IaEMfqUYKaLsCqR5AwCLcBGAs/s1600/Fishwharves%252C%2BGloucester.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="550" data-original-width="800" height="345" src="https://4.bp.blogspot.com/-Goi4hXDhjd4/XC-qwAxea7I/AAAAAAAAcCg/Q2n_hCjQiagUq15IaEMfqUYKaLsCqR5AwCLcBGAs/s1600/Fishwharves%252C%2BGloucester.jpg" width="500" /></a></div><b>Fishwharves, Gloucester</b><br />Watercolor.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-4wCueGM-VFI/XC-q2sMKnUI/AAAAAAAAcCo/NcGSgJRFcQ0T20EtIqtrSZTQamfU3Yw1wCLcBGAs/s1600/Clear%2Bfor%2BAction%252C%2BUSS%2BChester.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="522" data-original-width="640" height="410" src="https://4.bp.blogspot.com/-4wCueGM-VFI/XC-q2sMKnUI/AAAAAAAAcCo/NcGSgJRFcQ0T20EtIqtrSZTQamfU3Yw1wCLcBGAs/s1600/Clear%2Bfor%2BAction%252C%2BUSS%2BChester.jpg" width="500" /></a></div><b>Clear for Action, USS Chester - lithograph</b><br />Judging by the biplane aircraft, this was probably made before 1941.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-Ty_Gqb8MRPE/XC-q4JIF89I/AAAAAAAAcCs/bqb0sKHLP1Al_vVxbNEnzj8ROLETF7h7gCLcBGAs/s1600/USS%2BChester%2BCA%2B27.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="293" data-original-width="600" height="245" src="https://2.bp.blogspot.com/-Ty_Gqb8MRPE/XC-q4JIF89I/AAAAAAAAcCs/bqb0sKHLP1Al_vVxbNEnzj8ROLETF7h7gCLcBGAs/s1600/USS%2BChester%2BCA%2B27.png" width="500" /></a></div><b>Photo of cruiser USS Chester CA 27</b><br />Although the pose is similar, this photo was World War 2 vintage because the tripod foremast has been changed to accommodate radar.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-jiHUjfW_QG0/XC-q9zNFANI/AAAAAAAAcC0/OZe5EKL-NNY1NuVkcARrN5MeNVyH2_54QCLcBGAs/s1600/Task%2BGroup%2B21-6%2BPatrols%2Bthe%2BAtlantic%2B%2528America%2BRises%2Bto%2Bthe%2BChallenge%2529.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="461" data-original-width="600" height="385" src="https://1.bp.blogspot.com/-jiHUjfW_QG0/XC-q9zNFANI/AAAAAAAAcC0/OZe5EKL-NNY1NuVkcARrN5MeNVyH2_54QCLcBGAs/s1600/Task%2BGroup%2B21-6%2BPatrols%2Bthe%2BAtlantic%2B%2528America%2BRises%2Bto%2Bthe%2BChallenge%2529.png" width="500" /></a></div><b>Task Group 21-6 Patrols the Atlantic (America Rises to the Challenge)</b><br />A World War 2 painting.&nbsp; The positioning of the carrier, destroyer and cruiser is wrong. So is the perspective. If this were reality, a three-way collision was in the offing. Chalk it up to artistic license with the goal of dramatization.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-37530338694483741032019-03-14T01:00:00.000-07:002019-03-14T01:00:10.728-07:00Transitioning to Socialist RealismDuring the early years of the Soviet Union many younger painters embraced Modernism. This was a continuation of a process that had been going on during Czarist days: the appeal of the avant-garde. Modernism's appeal was further fed by the idealistic notion among Bolshevik-leaning artists that the Revolution created a great opportunity to cast aside the past and build a future both better than and distinct from the bourgeois past.<br /><br />Vladimir Lenin died in January, 1924 while modernist painting was still prevalent, and there is no way of knowing what would have happened to Soviet art had he lived to, say, age 70 in 1940. However, it is known that he did not favor extreme Modernism. Because his health began to fail in 1921 and following his 1922 stroke his active influence regarding Soviet artistic practices was probably limited. Which is why it took his successor Josef Stalin to complete the job of eliminating Modernism as state-supported art.<br /><br />The emergence of what became known as Socialist Realism began with the 1932 decree calling for a universal artists union. More details are <b><u><a href="https://en.wikipedia.org/wiki/Socialist_realism">here</a></u></b>. Considerable background regarding this is in the second chapter of <b><u><a href="https://www.amazon.com/Under-Stalin-Matthew-Cullerne-Bown/dp/0841912998/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1544812773&amp;sr=1-1&amp;keywords=art+under+stalin">this book</a></u></b>. Regarding Socialist Realist painting style, Matthew Cullerne Brown writes on page 92:<br /><br />"Stalin laid upon these artists the task of establishing their brand of realism, based on the methods of the Itenerants [a 19th century group of Russian painters] and Russian academics, as the dominant one. This approach reflected both Stalin's personal tastes (cf. his fondness for [Ilya] Repin) and his understanding that the resulting art would be the most easily understood by the masses; it would be both popular and, as a story-telling art, the best vehicle for propaganda."<br /><br />In the logic of totalitarian statecraft, Stalin's position was entirely rational.<br /><br />It took until the later 1930s for Socialist Realism to become established. Most artists complied for reasons ranging from ideological commitment to matters of personal well-being. Some artists remained true to earlier ideals and had to eke out a living. A few such as Lev Vyazmenski and Yakov Tsirelson were purged and liquidated in 1938.<br /><br />When I was in Málaga, Spain in November I visited a branch of St. Petersburg's excellent&nbsp;<b><u><a href="http://en.rusmuseum.ru/about/malaga/">Russian Museum</a></u></b>. It was holding a year-long (ending February 2019) exhibit titled "The Radiant Future: Socialist Realism in Art." A fine exhibit. Plenty of examples, some of which I even knew about before I visited. Of course I took lots of snapshots. Some were of a few paintings made before and during the early years of the implementation of Socialist Realism. They are hardly representative of the Soviet artistic scene of 1930-1934, but provide a sense of modernist-influenced politically-themed art still considered acceptable. Click on the images to enlarge.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-3vof6-fzgxI/XB1F7L-pinI/AAAAAAAAbzU/SEwm9V3tTxQrcTAogLKu9qJ5Mm4pxD5KACLcBGAs/s1600/Kuprin%252C%2BAleksandr%2B-%2BSteelmaking%2B-%2B1930.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://1.bp.blogspot.com/-3vof6-fzgxI/XB1F7L-pinI/AAAAAAAAbzU/SEwm9V3tTxQrcTAogLKu9qJ5Mm4pxD5KACLcBGAs/s1600/Kuprin%252C%2BAleksandr%2B-%2BSteelmaking%2B-%2B1930.JPG" width="500" /></a></div><b>Kuprin, Aleksandr - Steelmaking - 1930</b><br />The steelmaking equipment is given better detail than the workers in the foreground.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ycH5PsP7GSU/XB1F_1nZOBI/AAAAAAAAbzY/o41DK8Yf8Xk9NomiLCBmkG4-hq1nuqSkgCLcBGAs/s1600/Adlivankin%252C%2BSamuel%2B-%2BWe%2BWill%2BClose%2Bthe%2BGap%2B-%2B1930.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://1.bp.blogspot.com/-ycH5PsP7GSU/XB1F_1nZOBI/AAAAAAAAbzY/o41DK8Yf8Xk9NomiLCBmkG4-hq1nuqSkgCLcBGAs/s1600/Adlivankin%252C%2BSamuel%2B-%2BWe%2BWill%2BClose%2Bthe%2BGap%2B-%2B1930.JPG" width="500" /></a></div><b>Adlivankin, Samuel - We Will Close the Gap - 1930</b><br />This seems to be an industrial setting where production targets are in danger of not being attained. The workers are about to heroically reach or even surpass those goals via collective action.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-lVLdWHmBHv0/XB1GDPIfMZI/AAAAAAAAbzc/GxSDPbVEs38fhwfvApszlXX2eQF0EKtBACLcBGAs/s1600/Adlivankin%252C%2BSamuel%2B-%2BAt%2BCollective%2BFarm%2BHeadquaerters%2BBefore%2Bthe%2BAssault%2Bon%2Bthe%2BGap%2B-%2B1931.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://4.bp.blogspot.com/-lVLdWHmBHv0/XB1GDPIfMZI/AAAAAAAAbzc/GxSDPbVEs38fhwfvApszlXX2eQF0EKtBACLcBGAs/s1600/Adlivankin%252C%2BSamuel%2B-%2BAt%2BCollective%2BFarm%2BHeadquaerters%2BBefore%2Bthe%2BAssault%2Bon%2Bthe%2BGap%2B-%2B1931.JPG" width="500" /></a></div><b>Adlivankin, Samuel - At Collective Farm Headquarters Before the Assault on the Gap - 1931</b><br />The same situation, but in a rural setting. In these two paintings the style is modernist-influenced, but basically representational bordering on being cartoon-like.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-r7KBQrcliXI/XB1GWa79fJI/AAAAAAAAbzs/waAjNInyUkw7nV7yg38KdfXOe1XvGPRGgCLcBGAs/s1600/Dymschyz-Tolstaya%252C%2BSofia%2B-%2BAgitator%2BWorker%2B-%2B1931.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="720" height="535" src="https://3.bp.blogspot.com/-r7KBQrcliXI/XB1GWa79fJI/AAAAAAAAbzs/waAjNInyUkw7nV7yg38KdfXOe1XvGPRGgCLcBGAs/s1600/Dymschyz-Tolstaya%252C%2BSofia%2B-%2BAgitator%2BWorker%2B-%2B1931.JPG" width="400" /></a></div><b>Dymschyz-Tolstaya, Sofia - Agitator Worker - 1931</b><br />A rather sickly-looking subject, hardly the strong sort of personality one might expect for a man in that role. The style here carries a whiff of Expressionism.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-KfGI02kCrRU/XB1Gfivw_7I/AAAAAAAAbzw/jSq-u9qNFtEi3w1t47b6MrQFCPyaR-bWQCLcBGAs/s1600/Lizak%252C%2BIsrail%2B-%2BPortrait%2Bof%2Bthe%2BBlacksmith%2BS.%2BPetran%2B%2528Study%2529%2B-%2B1934.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="720" height="535" src="https://2.bp.blogspot.com/-KfGI02kCrRU/XB1Gfivw_7I/AAAAAAAAbzw/jSq-u9qNFtEi3w1t47b6MrQFCPyaR-bWQCLcBGAs/s1600/Lizak%252C%2BIsrail%2B-%2BPortrait%2Bof%2Bthe%2BBlacksmith%2BS.%2BPetran%2B%2528Study%2529%2B-%2B1934.JPG" width="400" /></a></div><b>Lizak, Israil - Portrait of the Blacksmith S. Petran (Study) - 1934</b><br />Here we find faint Cubist overtones.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-heIwuvtDZUc/XB1GrgSGyyI/AAAAAAAAbz0/YxqfBb-47HAykdAdeEpwiVh6q7JNkyKrQCLcBGAs/s1600/Lizak%252C%2BIsrail%2B-%2BPortrait%2Bof%2Bthe%2BSteel%2BFounder%2BAndrei%2BKrylov%2B%2528Study%2529%2B-%2B1934.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="720" height="535" src="https://2.bp.blogspot.com/-heIwuvtDZUc/XB1GrgSGyyI/AAAAAAAAbz0/YxqfBb-47HAykdAdeEpwiVh6q7JNkyKrQCLcBGAs/s1600/Lizak%252C%2BIsrail%2B-%2BPortrait%2Bof%2Bthe%2BSteel%2BFounder%2BAndrei%2BKrylov%2B%2528Study%2529%2B-%2B1934.JPG" width="400" /></a></div><b>Lizak, Israil - Portrait of the Steel Founder Andrei Krylov (Study) - 1934</b><br />A softer portrayal by the same artist.&nbsp; Getting closer to actual Socialist Realism, but still a ways from its classic forms. That this is a study and not a completed work might account for some of its style.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-2982622302718116352019-03-11T01:00:00.000-07:002019-03-11T01:00:02.630-07:00Up Close: Walter GotschkeI wrote about automobile illustrator Walter Gotschke (1912-2000) <b><u><a href="https://artcontrarian.blogspot.com/2014/06/walter-gotschke-automobile-impressionist.html">here</a></u></b> and <b><u><a href="https://artcontrarian.blogspot.com/2018/04/walter-gotschke-illustrates-adler.html">here</a></u></b>.<br /><br />As I mentioned in the first link, "It seems that Gotschke was self-taught, but had little trouble understanding how to portray machines and settings accurately with strong doses of atmosphere and emotion. When necessary, he could change his style to tight rendering. Sadly, he started losing eyesight around 1985 and was blind by 1990, some ten years before his death."<br /><br />Although I've viewed his work in publications for many years, I don't recall ever seeing one of his illustrations in person. Until recently. In February I visited the <b><u><a href="http://mullinautomotivemuseum.com/">Mullin Automotive Museum</a></u></b> in Oxnard, California. It has a fabulous collection of French cars mostly from the 1920s and 1930s. There also was a small section devoted to automotive art that included one of Gotschke's "impressionist" style illustrations that I photographed and present below in a detail.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-rYnkcqPKvAc/XH2Cz8iayUI/AAAAAAAAcoM/RLJQbVkebJI5wAscu4B8Tnb5s4eGLLDYACLcBGAs/s1600/Rudi%2BCaracciola%252C%2BMB%2BSSK%2Bat%2BSemmering-Bergrennen%252C%2B1928.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="489" data-original-width="700" height="350" src="https://1.bp.blogspot.com/-rYnkcqPKvAc/XH2Cz8iayUI/AAAAAAAAcoM/RLJQbVkebJI5wAscu4B8Tnb5s4eGLLDYACLcBGAs/s1600/Rudi%2BCaracciola%252C%2BMB%2BSSK%2Bat%2BSemmering-Bergrennen%252C%2B1928.JPG" width="500" /></a></div>To set the scene, here is a typical Gotschke car race illustration I found on the Internet. It depicts ace German driver Rudi Caracciola in a Mercedes-Benz SSK at Semmering-Bergrenne in 1928.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-XZAszvd5EI8/XH2C9KhAxqI/AAAAAAAAcoQ/qfztuIgK918QUWzOJMK8l61gSQyM_UShgCLcBGAs/s1600/Gotschke%2B1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="584" data-original-width="700" height="415" src="https://1.bp.blogspot.com/-XZAszvd5EI8/XH2C9KhAxqI/AAAAAAAAcoQ/qfztuIgK918QUWzOJMK8l61gSQyM_UShgCLcBGAs/s1600/Gotschke%2B1.png" width="500" /></a></div>And this is my reference photo of the illustration at the Mullin museum. It shows French driving ace <b><u><a href="https://en.wikipedia.org/wiki/Ren%C3%A9_Dreyfus">René Dreyfus</a></u></b> in 1930 at Monaco driving a Bugatti. <br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-NAlLhAZKv8o/XH2DOkLCYsI/AAAAAAAAcoY/uKc1xC8z5lwN94-vbF6CQfFGw1WoZ7MEwCLcBGAs/s1600/Gotschke%2B2%2Badj.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="841" data-original-width="800" height="580" src="https://1.bp.blogspot.com/-NAlLhAZKv8o/XH2DOkLCYsI/AAAAAAAAcoY/uKc1xC8z5lwN94-vbF6CQfFGw1WoZ7MEwCLcBGAs/s1600/Gotschke%2B2%2Badj.jpeg" width="550" /></a></div>Then I took a close-up photo of the lower-left part. &nbsp;The inscription is to Dreyfus, adding interest to the illustration. &nbsp;Although Gotschke included a good deal of mostly thinly-painted overstrikes to create a sense of both movement and instantaneous capture, beneath all this is solid drawing. &nbsp;That is, the general impression is of sketchiness, but the basis is solid, carefully done depiction. &nbsp;Besides accurately portraying the cars, Gotschke also captures the men. &nbsp;Note Dreyfus's right arm. &nbsp;Also the pose, facial expression, clothing, and light and shade on the photographer at the right. (Click on this image to enlarge.)</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-42277506817189331162019-03-07T01:00:00.000-08:002019-03-07T01:00:01.424-08:00Pompeii People PortrayalsIn November I visited the <i>Museo Archeologico Nazionale di Napoli</i> (<b><u><a href="https://en.wikipedia.org/wiki/National_Archaeological_Museum,_Naples">National Archaeological Museum, Naples</a></u></b>) to view the better-quality paintings unearthed in Pompeii and nearby areas covered with the ash of Mt. Vesuvius. What remains on-site is generally badly faded or otherwise of poor quality.<br /><br />This post deals with depictions of people because I've long been curious as to how good Classical era artists were at this. The problem is, paintings on wood, walls and other material are pretty perishable over two or more millennnia. So aside from Pompeii and some Roman-era Egyptian paintings, few portraits exist from those times.<br /><br />I find it interesting that in most times and places sculptors did a much better job of depiction than painters. This seems to be true for Roman art if the Pompeii findings are any clue. Were the artists working in Pompeii as skilled as those in Rome itself? Probably not. Pompeii was a resort area before its destruction, so I suppose the painters working there were not much less able than those in the capital.<br /><br />Another consideration is that the Pompeii paintings were found on walls. Painting on walls is less handy than on boards and canvasses that can be tilted or otherwise manipulated to suit a painter's needs at any given time. That is, wall painting can be awkward and the results might show it.<br /><br />Many of the paintings displayed in the museum dealt with legendary subjects, so artists often didn't have the constraint of depicting real people. A result is that a number of faces are rather stilted versions of idealized faces seen on Greek and Roman statues. Others display more personality. And of course there is variation in the skill of the painters working in the decades before the AD 79 eruption.<br /><br />Below are some snapshots I took using my iPhone. Click on them to enlarge.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-JC6Vj7BatFQ/XBLT-R61XSI/AAAAAAAAbt8/NZDpVKdtMNYg9m1a987fP06Ls20Kh610wCLcBGAs/s1600/Character%2B1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="530" data-original-width="450" height="470" src="https://1.bp.blogspot.com/-JC6Vj7BatFQ/XBLT-R61XSI/AAAAAAAAbt8/NZDpVKdtMNYg9m1a987fP06Ls20Kh610wCLcBGAs/s1600/Character%2B1.png" width="400" /></a></div>This probably shows a mask, but it has a lot of character.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-llaSzwCpHGI/XBLT_zbr0nI/AAAAAAAAbuA/aJ_m8Cah9LogoQf4sfPEk0vuWUyuyIAxQCLcBGAs/s1600/Character%2B2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="419" data-original-width="450" height="420" src="https://4.bp.blogspot.com/-llaSzwCpHGI/XBLT_zbr0nI/AAAAAAAAbuA/aJ_m8Cah9LogoQf4sfPEk0vuWUyuyIAxQCLcBGAs/s1600/Character%2B2.png" width="450" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-yUam2gRey90/XBLUB1MamII/AAAAAAAAbuE/w_OgmvPgog0FV45NOH2y560io_NMAUP7gCLcBGAs/s1600/Character%2B3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="411" data-original-width="450" height="410" src="https://4.bp.blogspot.com/-yUam2gRey90/XBLUB1MamII/AAAAAAAAbuE/w_OgmvPgog0FV45NOH2y560io_NMAUP7gCLcBGAs/s1600/Character%2B3.png" width="450" /></a></div>A pair of images showing suspicion. The strong shading is unusual.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-mi1H8lECIVU/XBLUFXLJ98I/AAAAAAAAbuI/4GOreaPXFLw4UryuEVNEq_h7uu5LtBGvACLcBGAs/s1600/Character%2B4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="443" data-original-width="450" height="445" src="https://2.bp.blogspot.com/-mi1H8lECIVU/XBLUFXLJ98I/AAAAAAAAbuI/4GOreaPXFLw4UryuEVNEq_h7uu5LtBGvACLcBGAs/s1600/Character%2B4.png" width="450" /></a></div>Women almost always were given whiter skin than men.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-_LylzSoE5lc/XBLUHb9EQqI/AAAAAAAAbuM/14U7GvY_R9oRcsLdHzc2vQzEiAlc170ygCLcBGAs/s1600/Character%2B5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="462" data-original-width="500" height="460" src="https://4.bp.blogspot.com/-_LylzSoE5lc/XBLUHb9EQqI/AAAAAAAAbuM/14U7GvY_R9oRcsLdHzc2vQzEiAlc170ygCLcBGAs/s1600/Character%2B5.png" width="500" /></a></div>This reminds me of Roman-Egyptian portraits I've seen.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-M0uGdXcYKrw/XBLUJ5JLGZI/AAAAAAAAbuQ/XgCNapEf-M8ASttbTUxgBONSG7CuiUirwCLcBGAs/s1600/Character%2B6.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="450" height="510" src="https://1.bp.blogspot.com/-M0uGdXcYKrw/XBLUJ5JLGZI/AAAAAAAAbuQ/XgCNapEf-M8ASttbTUxgBONSG7CuiUirwCLcBGAs/s1600/Character%2B6.png" width="400" /></a></div>A bit of comedy or commentary here.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-U9HSkgpUKkc/XBLUM38JmDI/AAAAAAAAbuU/84CuGLez6oUaR3HTDNtRSPidx9ZMsWBCwCLcBGAs/s1600/Character%2B7.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="433" data-original-width="700" height="310" src="https://3.bp.blogspot.com/-U9HSkgpUKkc/XBLUM38JmDI/AAAAAAAAbuU/84CuGLez6oUaR3HTDNtRSPidx9ZMsWBCwCLcBGAs/s1600/Character%2B7.png" width="500" /></a></div>Interesting documentation of Roman helmets.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-twDnGI7t0so/XBLUP1bEQ_I/AAAAAAAAbuc/gdCu-DZOOtAdW5d9NAeCJZvdxcDhQ0t2wCLcBGAs/s1600/Character%2B8.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="477" data-original-width="500" height="475" src="https://2.bp.blogspot.com/-twDnGI7t0so/XBLUP1bEQ_I/AAAAAAAAbuc/gdCu-DZOOtAdW5d9NAeCJZvdxcDhQ0t2wCLcBGAs/s1600/Character%2B8.png" width="500" /></a></div>Note the shiny bells on the column. Here and in many of the other images artists exaggerated the size of eyes.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-sXpNtabn3JI/XBLUSPYVtgI/AAAAAAAAbug/DhtjhKSR2L02L6MmPrti7qbBWuL5UiG9gCLcBGAs/s1600/Character%2B9.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="729" data-original-width="500" height="585" src="https://3.bp.blogspot.com/-sXpNtabn3JI/XBLUSPYVtgI/AAAAAAAAbug/DhtjhKSR2L02L6MmPrti7qbBWuL5UiG9gCLcBGAs/s1600/Character%2B9.png" width="400" /></a></div>Good work on the man's expression, but he seems slightly off-balance.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ICue4vSNsRE/XBLUVDA6fYI/AAAAAAAAbuo/QfGN69EQnUsmwTC_fpWG1tAvKGlThj7TQCLcBGAs/s1600/Character%2B10.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="762" data-original-width="403" height="755" src="https://1.bp.blogspot.com/-ICue4vSNsRE/XBLUVDA6fYI/AAAAAAAAbuo/QfGN69EQnUsmwTC_fpWG1tAvKGlThj7TQCLcBGAs/s1600/Character%2B10.png" width="400" /></a></div>This and some other paintings show that Pompeii artists were able to deal reasonably well with skin tones.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-Hav9p3bam_4/XBLUXn483bI/AAAAAAAAbus/v9g83eHPLWkLFvSQSAkKHpAfcr_8ZAzCQCLcBGAs/s1600/Character%2B11.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="700" height="430" src="https://3.bp.blogspot.com/-Hav9p3bam_4/XBLUXn483bI/AAAAAAAAbus/v9g83eHPLWkLFvSQSAkKHpAfcr_8ZAzCQCLcBGAs/s1600/Character%2B11.png" width="500" /></a></div>I find the disheveled hair at the left interesting and unique.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-44394686604576957512019-03-04T01:00:00.000-08:002019-03-04T01:00:00.728-08:00Two Building by Marcello PiacentiniMarcello Piacentini (1881-1960) was an important Italian architect whose career spanned the years from eclectic Classicism through Mussolini-vintage modernism to postwar modernism. His English Wikipedia entry is <b><u><a href="https://en.wikipedia.org/wiki/Marcello_Piacentini">here</a></u></b>, but the one in Italian has much more detail.<br /><br />I was in Italy in Novemeber and came across two of his works. One was the <b><u><a href="https://it.wikipedia.org/wiki/Palazzo_Piacentini_(Messina)">Tribunale di Messina</a></u></b> -- Messina courthouse. The project began in 1912 but the Great War interrupted work until the early 1920s. It was completed in 1927 and dedicated the following year.<br /><br />The other was the former Bank of Naples building renovated by Piacentini in 1939 for the 400th anniversary of the creation of the bank (which has gone through many name and management changes: it's now Intesta Sanpaolo). Some background is <b><u><a href="https://it.wikipedia.org/wiki/Palazzo_del_Banco_di_Napoli">here</a></u></b>.<br /><br />They are of interest because they bookend the era of what is called "Fascist Architecture," a term I find somewhat misleading.&nbsp; The basic style is similar to the stripped-down ornamentation buildings found in non-fascist countries such as the United States in the 1930s.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-AOOhMeVTWB4/XBAH26pv--I/AAAAAAAAbqw/IUnlyc6AZiUleq8cWg1Zml-CxxyA6kSdwCLcBGAs/s1600/Courthouse%2B4.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="375" src="https://1.bp.blogspot.com/-AOOhMeVTWB4/XBAH26pv--I/AAAAAAAAbqw/IUnlyc6AZiUleq8cWg1Zml-CxxyA6kSdwCLcBGAs/s1600/Courthouse%2B4.JPG" width="500" /></a></div>The Messina courthouse, a large, sprawling building.&nbsp; Piacentini modified some exterior design details when construction was resumed after the Great War.&nbsp; Technically, this was pre-Mussolini and not "Fascist."&nbsp; However, modernist influence is present in that ornamentation is fairly limited, though not to the extremes found ten or 15 years later.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-K_VinB-aBKM/XBAH5uyK1sI/AAAAAAAAbq0/A1KFmJ6FdekoXKqdzDha0XGpW7UPg-0rACLcBGAs/s1600/Courthouse%2B1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="535" src="https://2.bp.blogspot.com/-K_VinB-aBKM/XBAH5uyK1sI/AAAAAAAAbq0/A1KFmJ6FdekoXKqdzDha0XGpW7UPg-0rACLcBGAs/s1600/Courthouse%2B1.JPG" width="400" /></a></div>Window detail on the side of the building.&nbsp; Note the deterioration.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-JXyqkZN5KDo/XBAH7pEFqOI/AAAAAAAAbq4/wzvmOWLuCjsBWoqXSh3AtuU78FCqLQrswCLcBGAs/s1600/Courthouse%2B2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="535" src="https://4.bp.blogspot.com/-JXyqkZN5KDo/XBAH7pEFqOI/AAAAAAAAbq4/wzvmOWLuCjsBWoqXSh3AtuU78FCqLQrswCLcBGAs/s1600/Courthouse%2B2.JPG" width="400" /></a></div>An entrance on a side wing. Classical elements, but severely styled. &nbsp;Again, some damage above the sculpted head.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-rH1MvgS8EGA/XBAH94MdM2I/AAAAAAAAbq8/egUpPpGojMc9oEkq8YzehC9J-fVtvD-8QCLcBGAs/s1600/Courthouse%2B3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="375" src="https://3.bp.blogspot.com/-rH1MvgS8EGA/XBAH94MdM2I/AAAAAAAAbq8/egUpPpGojMc9oEkq8YzehC9J-fVtvD-8QCLcBGAs/s1600/Courthouse%2B3.JPG" width="500" /></a></div>Corner of a side wing.&nbsp; Considerable undecorated areas, harking to the future style.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-9NVX6yPM5j4/XBAIB2RVPTI/AAAAAAAAbrA/QcQwR2oPmi0OBfVfLpAvCxPilRDl9G-1ACLcBGAs/s1600/Banco%2Bdi%2BNapoli%2B1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="535" src="https://3.bp.blogspot.com/-9NVX6yPM5j4/XBAIB2RVPTI/AAAAAAAAbrA/QcQwR2oPmi0OBfVfLpAvCxPilRDl9G-1ACLcBGAs/s1600/Banco%2Bdi%2BNapoli%2B1.JPG" width="400" /></a></div>Banco di Napoli, renovated by 1939.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-z3OXV6bMo1A/XBARJ5-hbrI/AAAAAAAAbr0/NCBe6MADG5gUWVuRFCtqkx5sgfUSiesjACLcBGAs/s1600/Banco%2Bdi%2BNapoli%2Bbuilding%2B1929.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="217" data-original-width="298" src="https://4.bp.blogspot.com/-z3OXV6bMo1A/XBARJ5-hbrI/AAAAAAAAbr0/NCBe6MADG5gUWVuRFCtqkx5sgfUSiesjACLcBGAs/s1600/Banco%2Bdi%2BNapoli%2Bbuilding%2B1929.png" /></a></div>As it appeared in 1929, before its renovation.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-8FD5fSfJMzo/XBAIEiHhbrI/AAAAAAAAbrE/xH2vOlOdI7s3zzIWxjhGNHSorh3jMlXvgCLcBGAs/s1600/Banco%2Bdi%2BNapoli%2B3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="535" src="https://1.bp.blogspot.com/-8FD5fSfJMzo/XBAIEiHhbrI/AAAAAAAAbrE/xH2vOlOdI7s3zzIWxjhGNHSorh3jMlXvgCLcBGAs/s1600/Banco%2Bdi%2BNapoli%2B3.JPG" width="400" /></a></div>Showing plaque noting the 1939 renovation.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-gvSIpjLsVfA/XBAIHV_o2UI/AAAAAAAAbrM/NqlMR03LfeEqm4P4EAlUDymPff8TRvgkQCLcBGAs/s1600/Banco%2Bdi%2BNapoli%2B5.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="535" src="https://4.bp.blogspot.com/-gvSIpjLsVfA/XBAIHV_o2UI/AAAAAAAAbrM/NqlMR03LfeEqm4P4EAlUDymPff8TRvgkQCLcBGAs/s1600/Banco%2Bdi%2BNapoli%2B5.JPG" width="400" /></a></div>Main entrance.&nbsp; Mussolini-era modern featured little ornamentation.&nbsp; Windows and entrances became the main "decorative" elements.&nbsp; Arched shapes were common, something International Style architects and critics probably frowned upon because those arches were usually non-functional.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-gApp2QSvxAY/XBAII0i2KAI/AAAAAAAAbrQ/i3aC0zmN0lkZkwGCi4N9Enrmnw2OJO3sgCLcBGAs/s1600/Banco%2Bdi%2BNapoli%2B4.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="535" src="https://2.bp.blogspot.com/-gApp2QSvxAY/XBAII0i2KAI/AAAAAAAAbrQ/i3aC0zmN0lkZkwGCi4N9Enrmnw2OJO3sgCLcBGAs/s1600/Banco%2Bdi%2BNapoli%2B4.JPG" width="400" /></a></div>Plaque citing the bank's 1539 founding.&nbsp; Note the sculpture on the wall.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-vsXbogYwpXE/XBAILAGv4CI/AAAAAAAAbrU/s5JHC3QvjFoV8XeaBbUPhG9Me6tzIK0zgCLcBGAs/s1600/Banco%2Bdi%2BNapoli%2B6.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="375" src="https://3.bp.blogspot.com/-vsXbogYwpXE/XBAILAGv4CI/AAAAAAAAbrU/s5JHC3QvjFoV8XeaBbUPhG9Me6tzIK0zgCLcBGAs/s1600/Banco%2Bdi%2BNapoli%2B6.JPG" width="500" /></a></div>Close-up view of the sculpture.&nbsp; These sculptures are the main ornamentation besides the forms used for windows and entrances.</center>Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0tag:blogger.com,1999:blog-7589105760911453392.post-52390419615912288872019-02-28T01:00:00.000-08:002019-02-28T01:00:00.870-08:00A Soviet Tag-Team PaintingUntil recently I was unaware that, along with collective farming and other individualism-suppressing practices, there was the use of "brigades" of artists who collectively created large paintings in the Soviet Union. This is dealt with in <b><u><a href="https://www.amazon.com/Under-Stalin-Matthew-Cullerne-Bown/dp/0841912998/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1544812773&amp;sr=1-1&amp;keywords=art+under+stalin">this book</a></u></b> starting on page 182. Around 1950 huge paintings were commissioned for exhibition, but with completion deadlines so tight that a single artist could not hope to complete the work in time. So "brigades" of artists able to paint in an academic style were formed to do the work. They were under the direction of a brigade leader, usually an academician, so their style of painting was similar enough that individual treatments would not be noticed. For example, one such painting, "On the Great Stalinist Construction Site" (1951), had five artists participating.<br /><br />Even before this form of group painting emerged, there were cases where two artists would work on the same large canvas. An example is "The Taking of Sevastopol" painted 1944-1947 by Pavel Sokolov-Skalya and Andrei Plotnov. I viewed it when I was in Málaga, Spain in November where I visited a branch of Saint Petersburg's excellent&nbsp;<b><u><a href="http://en.rusmuseum.ru/about/malaga/">Russian Museum</a></u></b>. It was holding a year-long (ending February 2019) exhibit titled "The Radiant Future: Socialist Realism in Art." A fine exhibit. Plenty of paintings, some of which I even knew about before I visited. Of course I took lots of snapshots, including some of The Taking of Sevastopol, shown below. Click on images to enlarge.<br /><br /><center><b>Gallery</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-IXNlP5OXhHI/XB104OHEvNI/AAAAAAAAb0E/T2wG85S2qJIubJ6BiQstfmtp7c2IzaoygCLcBGAs/s1600/Sokolov-Skalya%252C%2BPavel%2Band%2BPlotnov%252C%2BAndrei%2B-%2BThe%2BTaking%2Bof%2BSevastopol%2B-%2B1944-1947%2B-%2B1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://3.bp.blogspot.com/-IXNlP5OXhHI/XB104OHEvNI/AAAAAAAAb0E/T2wG85S2qJIubJ6BiQstfmtp7c2IzaoygCLcBGAs/s1600/Sokolov-Skalya%252C%2BPavel%2Band%2BPlotnov%252C%2BAndrei%2B-%2BThe%2BTaking%2Bof%2BSevastopol%2B-%2B1944-1947%2B-%2B1.JPG" width="500" /></a></div>The Crimean port city of Sevastopol was captured by Germany in the summer of 1942 after an eight month siege.&nbsp; The Russians recaptured it in the spring of 1944, this action being the subject of the painting.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-51XbZ0MIbw8/XB107GBxj2I/AAAAAAAAb0I/9Xoz55Oiu7QNRfql0G8PHx_ubma0zj9HgCLcBGAs/s1600/Sokolov-Skalya%252C%2BPavel%2Band%2BPlotnov%252C%2BAndrei%2B-%2BThe%2BTaking%2Bof%2BSevastopol%2B-%2B1944-1947%2B-%2B2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://2.bp.blogspot.com/-51XbZ0MIbw8/XB107GBxj2I/AAAAAAAAb0I/9Xoz55Oiu7QNRfql0G8PHx_ubma0zj9HgCLcBGAs/s1600/Sokolov-Skalya%252C%2BPavel%2Band%2BPlotnov%252C%2BAndrei%2B-%2BThe%2BTaking%2Bof%2BSevastopol%2B-%2B1944-1947%2B-%2B2.JPG" width="500" /></a></div>Russian soldiers and sailors are shown attacking Germans, a number of whom are in a state of panic. I'm pretty sure this scene is contrived for artistic and propaganda purposes. Such a concentration of men, artillery and a tank would have been quite rare in World War 2. Furthermore, hand-to-hand combat was not a common as in earlier wars, but might have been more prevalent on the Russian front. Most likely the Germans held off the Russians as long as they could using long-range rifle fire and then retired as carefully as they could manage. However, at the crest of the bluff above the city shown here, there would have been some action because a few German troops were needed to delay the Russian advance up the slope. Also, note the falling Russian soldier at the right of this detail photo and compare it to the image below.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-iwnUOzV_5zM/XB13nhPyRGI/AAAAAAAAb0g/KBPSAbAVd1wzZVroM6JclzVp4u1SUAABwCLcBGAs/s1600/Robert%2BCapa%2BSpanish%2BCivil%2Bwar%2Bphoto%2B-%2Bcompare%2Bto%2BSokolov%2B3%2Bdetail.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="411" data-original-width="500" height="410" src="https://4.bp.blogspot.com/-iwnUOzV_5zM/XB13nhPyRGI/AAAAAAAAb0g/KBPSAbAVd1wzZVroM6JclzVp4u1SUAABwCLcBGAs/s1600/Robert%2BCapa%2BSpanish%2BCivil%2Bwar%2Bphoto%2B-%2Bcompare%2Bto%2BSokolov%2B3%2Bdetail.png" width="500" /></a></div>Robert Capa's famous, but controversial, photo of a Republican soldier being killed during the Spanish Civil War of 1936-39. The pose isn't identical to that of the figure in the painting, but there are similarities -- note the forward legs and the pant leg cloth folds in each image.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-KBkjp8yCWlU/XB109vidLUI/AAAAAAAAb0M/6lbmz7q_cq8cD-cscBhOYeKPj7bCe3OVgCLcBGAs/s1600/Sokolov-Skalya%252C%2BPavel%2Band%2BPlotnov%252C%2BAndrei%2B-%2BThe%2BTaking%2Bof%2BSevastopol%2B-%2B1944-1947%2B-%2B3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="375" src="https://1.bp.blogspot.com/-KBkjp8yCWlU/XB109vidLUI/AAAAAAAAb0M/6lbmz7q_cq8cD-cscBhOYeKPj7bCe3OVgCLcBGAs/s1600/Sokolov-Skalya%252C%2BPavel%2Band%2BPlotnov%252C%2BAndrei%2B-%2BThe%2BTaking%2Bof%2BSevastopol%2B-%2B1944-1947%2B-%2B3.JPG" width="500" /></a></div>Panning to the right. Again the soldiers and sailors are packed tightly for reasons of drama. The background city view reflects that most of the building in Sevastopol were damaged during the earlier siege. I wonder if one artist painted the city and other background features while the other concentrated on the soldiers.</center><br />The term"tag-team" in the title of this post has to do with a feature of American professional wrestling whereby two two-man teams participate. Only two opponents are in the ring at one time, but team members can be substituted if the man in the ring touches (tags) his teammate waiting outside the ropes.Donald Pittengerhttp://www.blogger.com/profile/11307228686847434740noreply@blogger.com0